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Photographic 

Sciences 

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14X  ISX 


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a 


22X 


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16X 


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26  X 


30X 


24X 


28  X 


n 


32X 


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1/ 
entaire 


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Un  des  symboles  suivants  apparaitra  sur  la 
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et  de  haut  en  bas,  en  prenant  le  nombre 
d'images  n^cessaire.  Les  diagrammes  suivants 
illustrent  la  m6thode. 


red  by  errata 
jfilmed  to 

tiement 

ita,  une  pelure, 
de  facon  d 
ibie. 


30X 


1 

2 

3 

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1 

2 

3 

4 

5 

6 

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The 


Elements  of  Vocal  Harmony 


BY 


HUGH  A.  CLARKE,  Mus.  Doc. 

,.KOK.S.OK  OK  TUK  SCKN.K   o^   MrsU-,   VN.VKUSUV   O.   .KN  NSV..VANU. 
Al-THOR  OK   "MlStC    AND  Till'.  COMRAUE   ARTS 


SILVER,  BURDETT   AND   COMPANY 


Nkw  Yokk 


.  BOSTON 


,  Chicago 


liijarwWi^w  ""T'  ^T '  ^  ^'~^ " 


TWO  >:<,cih..s  Mti._  K,^  (.;.  •, 
llifS'i    ,f   O'ongriti, 

JUM  1  -  I90U 

StCJNU  oOPY, 


r.Y  Sii.vKR,  Iii'ki)i:i  r  AM)  Company 


PHEFACE 

Tins  book  lias  boon  propiireil  in  tlio  hope  thai  it  may  find  a  wide  usc- 
fiihicss  in  high  aiul   normal  .schools  where  music  is  stmlicil,  as  well  as 
iimonj,'  music  teachers  in  general.     It  aims  to  furnish  such  a  knowlo.lge  of 
harmony  as  will  onahlo  its  possessor  to  arrange  correctly,  in  two  or  more 
parts,  the  exercises  and  songs  used  in  the  class-room.     With  this  cud  in 
view,  the  author  has  so  ooml)ined  the  elements  of  harmony  and  the  art 
of  counterpoint  that  the  learner  is  enabled  t..  put  his  knowledge  to  a  i.rac- 
tical  use  from  the  very  beginning  of  his  stu.ly.      As  the  work  advances, 
each  step  will  be  fotmd  to  be  the  natural  logical  sequence  of  the  preceding 
step;  and  if  the  directions  given  arc  faithfully  foll.nved,  the  progress  from 
the  simpl.'St  two-part  combinations  to  those  of  four-part  will  be  found  to 
present  no  dilliculties  that  may  not  easily  be  mastered. 


HUGH    A.  CLAHKK. 


PllILADKLlMlIA,    MaV,  1000. 


COXTKXTS 


Tl 


(iiAnr.u  I.     ScAi.KS 

KuilvsciiK's-  .MaJMi-,alc-  IVLMrlionl  — It.'li.tionnf  sciilcs  -  I.itnvi.U  and 

their  iiivci!'ioii>  —  Naiiu's  of  the  ih'^rif>  of  tho  scale. 

CiiAi'Tiii  II.     IMi:i.<)i>Y 

Sinipl..  fnriMs  ,,f  i.u't.Mlv  Khyihin.  |,riii,an  aiui  srnmaary  -  l.v.ir  or  mm,- 
f,.m  —  Mniivc  —  IMiraM-— Srciicm  —  IVriod. 

t'llArTI-.ll    III.       TWO-I'AIM CnMlilNATlnNS 

The  Ihinl,  i.iajo.'  an.l  luinm--  The  .<iNth,  major  and  minor  -  Sequmrcs. 

CiiAi-irii  IV.     'rill.  ()CTA\  r. 

The  maiiM.r  of  ii.lro.liicin-  iho  oclavo  The  a-hlilion  .pf  the  oelave  to  ,i 
smaller  interval  -  Varieties  of  motion  -  Direel  or  i-arallel  -  Contrary  and 
ohlicine— l''ive  rules  for  two-j.art   \vritin„'. 

CiiAiTii:  V.     Tin;  Pkim-uc  r  Finn 

Manner  of  intro.lnein-  the  perfe.l  lifth  ~- The  perfe.t  fourth  -  Peffeel  con- 
sonances —  Imiierfeet  consonanees       l)i^^ollauees. 

C'llAlTllt    VI.       Tin:    AKiMINTKI.    I'Clinil    AM.    ITS     In'VF.USION 

We^olution  of  aiisnienied  ami  .liiuinished  .lissonances— Hnles  for  h-M/mnin;,' 
two  jiarls  -  liules  for  eu'iings. 

ClIAl'TKlt    VII.       PaSSIMI    ToNKS "       ' 

Movement  hv  leai^s  and  movement  hy  d.>|,'rees  with  one  i.art  -tationary— First 
variety  of  passin-  tones  -The  diminished  liflh  afi.M-  a  passin-  tone. 

CiiAi-rr.K  VIII.     SicoNi'  Vauii:ty  i>v  PAssiSd  Tosi.s 

I'assin"  tones,  third  variety  —  Fourth  \arirty. 


I'AOB 
I 


V.) 


vf  (<>.yr/:xrs 

I'AOI 

ClIMlIU    I\.      ClIAMilNU    Nori>.  (lU    An'i'i,(i|,\TI  l!\H |,'l 

(>M  iii.iiirni  III   wriiiiii; — .Muiliru       .Sii>jii'ii>ii)ii. 

CiiAriii;   N.     ('iiMi;i.  CciMiiis  \  ricpNi .j'.l 

' 'I'Iriliinii  111'  pcilr.'l  I'li.'l'l  "I-  III. hi  1 'iiriini-lic(|  ilini'd  Miijur  and  llliliur 
ilinni  \aiiic-.  n(  till'  ilioi'd-  ill  ilii  -lalr  I 'iiiiini'li.  i|  I'dlldwcd  li_\  pcrfii't 
littll  —  Siiiri--iiiii  i.f  I'liiii'd-  ill  lliii'c  |iarl>  --  I'ir-I  iii\rr-iipii  of  ciiiiiiiinn  iIkiiiI 

-      St'COIld  illM'|>iil|l   nl'  cnllllllllll  cllnl'd  I'llfdl    cl.i.'  m   radl'llic       -   Pilllilli-lll  ll 

clinnl  ill  srnncnci's  —  Sii-laiutd  iiulu  in  mic  part  witli  iIil'  ullicr  |)art.>  uiov- 
Uig, 

(  iiAi'iii;  XI.     Passim;  Toms  in  'l'iii;r,i -1'\i!t  WiiniNti       Gl 

III   Hill'    Vciiro     -111    tWil   Nuifl'-^      -  (   iiail.:ill'i   llilirs   —  Sl|-[H'll>ill|IS. 

(  iiAi'ii.i;   XII.     'I'm.   DoMiNANi    SiviMii   CihUiii 09 

l>i--ipii;iiii  iiiiii\.pN  ill  ilii^  cln^i^l  'I'lii  if  rc-iiliiiiiiii  -'rill,'  rir>i  |ir(riri'»iiiii  — 
Addiliuiiai  rc!iiarl->  nil  Iwn-iiarl  writing — Iiim  r>i()ii' of  ihis  clninj. 

CiiM'iii!  XIII.     IJi.i.Miii  Kivs 75 

Itrlatiuii-iiiii  lliruiijii  ill,'  iciraclmnis       .Sharii  I'niii'  .-ukI  llal  .m'M'ii. 

CiiArrii;    .KIV.     Tm:   iMiMu;  .S.  \i,i 79 

lis  <>i'i;:iii -- lt>  ill  riviuidii  I'nuii  ijic  iiiajp'r  !^i-,\U>  —  'I'lin  iiutiiral  minor — Ui'ia- 
livf  minor  —  'I'alilc  of  ■.i'.'iiatiiri's — llaniionic  iniiior ---  Aiii;iiienU'd  .■^Cfoiid 
and  ii^  iiivfr-iidii  ~  -  Cliiiid-  in  tlir  liariiii.nir  'cali'  —  'I'lic  rai.-fil  scvcnlli  — 
'I'lii'  iilatiMJ  j^'niiq.  —  The  dniiiiiiaiit   >cM'iilli  rlionls  of   llii'   rclalu'd  i^roiiii, 

(iiArrii:  X\'.     Otmii;    I'KniiiMs.sioNs   or  nii;    noMiNAsr   Si.vr.STii   f'iioi;ii       S'.t 

SiToiiil  iirip^'if>.-inn  —  Tliird  iPiip.;rc->i(Pii  —  Si'(|iit.'nt'u  of  iloniinaiit  seveiitli 
ciiorils. 

ClIAITIU    X\'I.       TlIK    Ml-.l.OiilC    ^riVOI.    SCAI.K Dl 

'I'lie  iMiscil  si.MJi  —  'I'lic  naliiral  >c\tnl]i. 

CiiAni.u  XVII.     Toi  i:  Tai:t  IIakmonv KM) 

Ciiiiiiiion  clioril'^  in  I'lPiir  )iari< — I'pp^iiiiPiis  of  ilnpril-  Smci'ssiipn  of  (•(Pinnion 
cliipfd-.  with  ioii|.i  at  llic  hass  -  TlioriN  lu'low  tin'  iiidipdy  —  .Succi'sisions  that 
arc  iiipl  iriri'calpU'    -  Siic'i'e>sii'n  in  cIom.'  aiipl  in  open  lianinpiiy. 


■im 


iijor  anil  iiiiiiiir 

iWfll    ll\     pcifict 

CiiMIIIIHll  I  lliil'il 

('       -  I  >illlillirlli'i| 

tlicr  jiiiit.-i  uiov- 


t    |i|'iii;ri'»!ii|l  • 

unl. 


I  iiiiiior  —  Uflii. 
;iiienti!il  i-t'coiid 
,i.-oil  ccvuiiili  — 
■liilu'il  f^roini, 

vr.STII    rilit|;i> 

iiiiiant    st'M'iitli 


•l.'l 


4U 


CI 


09 


S'J 


y-i 


100 


idii   nf  ((iiiimoii 
MK'ii'ssions  that 


— — — — '  I'tllK 

(  llMTlll    XVlIi.       KlUST    AM)    Si:.<,M.    iNVlliMuNH    IN    I'ol  It    I'MUH        .       .       .       IHT 

Tnvu  rhunls  in  H,.m>.iu,.  in  ih.  li.nv  p„Mi,nn   -  li.rapi.ulaliun  ul   nil-.  I..r 
)ii'iiinil  inM'i«i(>ii^. 
CnriKu  XIX.     'I'ln;  C'ii..im.  uk  Dominant  Sicvkvim  in  I'oiu  I'ax'h  .     .     Ill 

l'i,-t.  ^cr.m.l.   anil   tl.inl    l..'..U.v.Muns   iir..!    ...incur,.  _  t:ise.   in    winch   tiiv 
Mvc'iilli  may  umx-iuI. 

{■IIAITMI    XX.      Ol'KN    1IAUM..NV    IN     KolU    I'M"^ '"'* 

C'liuTiit  XXI.     Ai.DiTioNH  TO  nil.  Dominant  Cuoui) •-' 

()v..n..m.H  ..f  the  ,lM„.i,.an.-rM'  uf  ninth,  .h.v.n.h.  un,l  ihirifynlh  with 
tla.  r.H>t  ,,re...ut-Mov.nR.nt  ..f  th.  ninth  -  M.^v.Mnent  of  .1...  dovrnlh - 
^h,v..ni..nt  of  the  thirteenth -IJnMkin-  np  of  the  ovntnnes  into  j.'nmpH  of 
four  Miunds  — Manner  of  fwWn'i  lli^'  root  of  any  ^nonp, 

fiumrit  XXII.     I'uoouEssioNs  OK  Dominant    IlAUM(.N!r..s l-"-' 

Seeotnl  und  thinl  groups  ;  i.  e  ,  thir-l  to  ninth    -  Their  I'ro,,  e^sions       Se.p.ence. 

CiiMTiK  XXIII.     Ciiouu.s  OK  Ki.k.vi:ntii   am.  'rniinii.  tii ^-^ 

Fonrth   .Tonp;    i.e..   tilth    to    eleventh,    with    .najor    ninth  -  I'rosiresslons - 
,Se(ineneo  -  I'ourth  an.l  fifth  -roups   further  cluc.late.l. 

CiKi'TKu  XXIV.     Sri'EitToNic  IIaumon^ 

Its    forinati,.n-l'rosrcs8ion-Move,nent    of    its   momhers  -  Chonl   of   an;.'- 
menteil  sixth  -  French,  German,  un.l  Italian  sixth 

('„Arn:.t  XXV.     Cio.tns   ok   Pauai.i.k.i.,  M.nou,  am,   Ai(;mk.ntk.i,   Imktii     IoO 

Parallel  s.^ales  -  Clu.nl  of  lowered  siipertouie  -  liaised  notes  treated  as  aug- 
mented fifths  of  major  chords. 

CllAlTKIl   XXVI.       FUUTIIF.U   Rl-.MAKKS   ON   MF.I.Om- ,      ,•  . 

Cadence  ?v..\  half-caden.e  -  llemarks  on  settin-   poetry  to  music  -  Kn^dish 
versineation-LonL'.  common,  and  short  metre -Other  varieties  of  metre 
Con.l.ination  of  music  and  utitncttic..!  words  -Kcpctition  of  words  or  part. 
a  sentence. 


'■  ?' 


TllK 


ELEMENTS  OF  VOCAL  IIAKMONY 


CllAPTEK  1 


SCALES 


ASrVLH  (from  Italian  .n.h,  -  a  hnUcr  cr  s/./n..^)  is  a  succo^wm 
of  sou,!  .nuhuUly   rising  in  pil.h   f.o.u  a  giv.u  Mm.ul.      Many 
fonns  of  s.ak.s  havo  In-.n,  an.l  an-  y.t,  usc.l,  of  sun.o  ui    wluch  wo  .Ul 

(five  a  short  aoi'ount.  ,  ■  ,    ^    ,      4i  . 

"     I„   oarly    times   the   series    of    nmsieal    sounds   ^vas    restricted    to   tht 

following :  — 


i^. 


o    ^ 


/v    '> 


] 


\o  sluuTS  or  Hats  were  used,  and  any  one  of  these  sounds  n.i-ht  be  taken 
as  the  key.iote  of  a  seale.  It  will  easily  1...  seen  that  the  halt  steps  wdl 
not  oceupy  the  same  [tositions  in  any  two  of  these  seales:  — 


<f~ 


\^ 


-^  -^.-'^U-'- 


-rr<> 


-rj^si' 


V-  .«- 


-<j.-fy 


^■^     6 


".    '^ 


n    "^ 


J 


TUE  1:LEME.\TS  of   lOCAL   HARMONY 


Tlifsc  scali's  \vi'ri5  usi'.l  cliii'lly  for  cliurch  iiiiisic,  mid  arc  calk-d  I'ccl' sias- 
tical  or  U iKjuriiit  scnlis.  or  jildinsinuj  s,i(/is.  'i'hcv  wciv  also  known  hv 
names  liorrowcd  from  tlic  (irccU.  No.  I  was  (lie  jnincipal  scale,  calltil 
tin;  Jl'rl'in  ;  No.  A,  tlic  J'/ir/^i/i^ni  ;  No.  •;,  tlie /.,//7/'///.  TIksc  tliive  wnv 
idso  called  (luthmttr  tir,ihs.  No.  1  was  called  the  Ifi//>ii,lnn'>iH,  tliat  is,  (he 
ii,i'l>r  Dorian;  No.  'J,  (lie  J/>/jinj,hri/<ji((n  ;  No.  :5,  tjic  Ihipuhiilhai  ;  these 
thi'i'e  were  called  ji/ki/hI  iihu/is. 

A  melody  in  an  aulhenlie  mode  l)e,«,Mn  and  I'ndcd  (»ii  its  ki'vnote;  hut  a 
melody  in  a  plai^Ml  mode  ended  on  tlu'  keynote  of  liie  aullientic  mode 
hcarinn'  tin-  same  name. 

It  will  he  sci'u  that  No.  .'■  is  identical  with  the  modern  major  mode, 
and  No.  1  with  the  modern  iialnial  niinoi'  mode,  except  that  a  melody  in 
No.  1  had  to  end  on  I),  and  a  melody  in  No.  d  on  l'\  I'.iit  No.  •">  was 
also  known  as  the  Ionian  mode— an  aiitlu-ntii'  scale,  therefore  ending,'  on 
('.  'I'his  is  the  only  scale  tiiat  has  survived  unclian^'ed,  and  is  the  modern 
natural  major  scale.  This  is  the  I'caso/i  why  our  natural  scale  hcj^niis  with 
('.  the  letter  .V  hasin^''  been  already  tjivcn  to  the  tii'st  sound  in  the  series. 
The  Ionian  scale  was  forbidden  in  chuivh  nuisic,  hut  it  has  always  lieeii 
lar<,'ely  >ised  in  |)o|)ular  iiuisic,  and  has  now  nearly  driven  the  other  scales 
out   of  the  church. 

We  will  now  proceed  to  an  analysis  of  the  major  scale.  The  first  thinj,' 
wi"  observe  is,  that  if  we  divide  it  in  the  middle,  that  is,  into  two  <,noups 
of  four  letters  each,  wi-  shall  ujet  two  scries  that  are  exactly  alike,  se])anited 
from  each  other  by  a  whole  step.     Thus:  — 


C.        1),       K,  I'. 

whole    wliole     iialf 
step.     step.       stejt. 


(1,      A,     n,  (' 

wliolo    wIidIc      iialf 
step.     step.      step 


These  are  called  tetrachords,    from  a  (Jreck  word   meaning  four  striiit^s. 
Now,  as  these  tetrachords  are  alike,  it  follows  that  any  tetrachord  may 
be  considered  as  lu  in<,'  either  the  iirst  half  of  one  scale  or  the  seeond  half  of 
anotln'r  scale.     Thus:  — 


SCALES 


•illUMl  t'Ccl'  si;i.s- 
iilso  known  liv 
>al  sciilc,  ciillfd 
K'SC  llu'ci'  Well' 
iiui,  tliiit  is,  (Iif 
i)ti/i/ilii(ii  ;    tln.'M.' 

ki'vnotc;  l)ut  a 
luillirntii'    niodt' 

rn  luujiir  modi', 
hat  a  nicliidv  in 
15 lit  No.  .")  was 
■i'dro  I'lidiiiL,'  (111 
I  is  tlic  iikkIltii 
all'  l)f<,niis  with 
1(1  in  tlic  sfiii'S. 
las  always  liccii 
[III'  other  scali'S 

The  first  Ihiiij,' 
iito  two  <ifioups 
alike,  .se})amtt'd 


t^  four  strings, 
tetrachoi'd  may 
e  second  half  of 


K,,;,A,  IP.  1     f.    1>'    »--'J"- 
C,     1),     K,     l'- 


(1.      A.       15.     V. 

first  huU'ofC.  and  j     ^.^      ^v,       I'.^C, 
seeoiid  liiilf  •>!■  <-',  and 
iirsl  hair  ol'  <i. 


second  half  of  K 


!),     K,     V^,    11. 


1  .  ;..  which  aiiv  <Mven  letrachonl  is  found  are  called 
.  .  1  Tl...  .lilklvl..-..  in  l.llil.  l«-<".in  l»..  s,.uii.l»  is  .ull.'.l  .m 
alToct  tl.L' Hi."..' ..1  ll.i'ii.l.i'.''-      '""     _ 

„,,.  i,„.|„.i...i,  ,.......■!>■.  rj^i:.  -I  i'  "-.v  I-  '^i-  •■■■ '  J-'  "■■  'i,''-  '"'^ 

|,,|„„-)  as  (•  I);  tl.is  iH  ...ll...!  a  » '•     If  "■'■  "^'""""  ""■  »«''"  "'  '  ■  "' 

si.aii  lirni  .i,;rt.v,.  ..!■  .1.-  *. Is  i„  i. .,.,.  smaii.T  ,i..u,  "I;;;'''''--  ;';;;,'»;',>■ 

,.;  K  „,„|  r.  r,  l.air  *|.s.     T..  .lisli,«..W.  tl,.-....  ..  s,.c..i..l  «.ll.  ■'  I""  -"  I' 

;,;  ;,M  ,.;,u,..i ..  .,..->.■  (i».^-.-> « -i-  ■' "»'  '«■  ^'•'■"  "-^  ■" "-  "■"■"  ■■' 

C  there  are  live  major  and  two  minor  seconds. 

J 


>"nd^r      MTTir     Min.-r   M.jor       M.^r      M.j.r    Min.>r 
.eruna.    seco,,.!.  se.nu.l.  mt...!.!.     s,m-..„.1.    scco,.!.  src.m,!. 

We  nav  now  define  the  tetrachord  as  consislin,  of  two  maj.>r  seconds 
f„Howed  l.v  a  minor  second:   and  the  major   scah-    as  cons;stn.g   of    two 

the  hrst),  seven  of  each  interval  may  he  f-nnd  m  it.     \N  e  h.ue  aln  ad> 
found  seven  seconds. 


THE  ELL  MEWS  OE   VOCAL   HARMONY 


'I'lio  iK'xt  interval  is  tlio  thiv<l. 

1         t>         ;?         \  ■) 


On  cxiiiiiiiiiiij,'  tlii'so,  wi-  liiul  that  Nos.  1,  4,  uiul  ">  aiv  liir<,'cr  tliaii  (lio 
others ;  tliat  is,  they  eoiitain  ta-o  n'livlc  skps,  the  others  one  whoh'  ami  nnc 
hall'  stei).  'I'he  third  with  two  whohr  steps  is  called  majui:  The  third 
with  one  whole  and  one  hall'  step  is  called  rniniu: 

'I'he  J\>urth  includes  four  letters. 


1^ 


Six  ol"  these  are  alike  in  containint^  two  whole  stej)s  and  one  hall"  step; 
they  aro  called  jtei'l'eel    fourths  (for  a  reason  that  will  appear  in  ^nod  linie> 
No.  \  is  calh'd  an  <iii;/iinitl(il /(Hirlh  ;  it  contains  three  whole  steps. 
'J'he  ///■///  includes  live  h'tters. 


II  will  he  found  on  examining  the  fifths  that  they  are  the  fourths  turned 
upside  down.     Thus:  — 


i\l7iJiAXi/^\^/^\^/^\ 


6  -^/.^     y 


■Jtli.       Mh. 


Therefore,  as  six  of  the  fourths  are  alike,  six  of  the  fifths  must  also  be 
alike.  These  are  called  iterfcct  Ji/fliff,  and  they  contain  three  whole  and 
one  half  step.     The  remaining  one,  No.  7,  is  called  a  J('/«//t/^//t(/  Jifth;  it 


V 


^!  J 


'  liiri^'cr  tliiiii  llio 
l;  wliok'  iiinl  niic 
ijur.     The  thin  I 


1  (iiic  liiiir  step; 
ir  ill  ^ikmI  liiiH'^. 

(.'  St('|I.S. 


'  fouillis  (uriK'd 


lis  must  also  be 
line  whole  and 
iaUlidl  fifth  ;  it 


SCALES  5 

foiilains  thive  nvIm.Ic  steps.     'I'nniiiig  at.  interval    upside   .h.wn    is  oalle.l 
iiiverlinf(  it,  tlieivfnie  we  say  the  inversi.  ;  „f  u  I'.mith  produces  a  hllli, 

or  the  reverse.  ,  .         ,      ^,  •    i 

The  next  interval  is  the  sUth  ;  this  is  found  by  inverting  the  third. 


:<^-^-^ 


1 


o 


3 


4 


-<^- 


G 


Nos  :l  r,  and  7  are  the  inversions  of  the  n.aji.r  tiiirds;  they  contain  four 
whnle  steps,  and  are  called  ,.u>.r  sirths  ;  the  others,  contain  four  whole  steps 
and  one  half  step,  and  are  calle.l  nu.jov  siAhs.  tS..  we  lind  that  when  a 
inaior  inti-rval  is  inverted  it  produces  a  minor,  and  the  reverse. 

"The  next  interval  is  the  .n-eidh ;  this  is  found  by  inverting  the  second. 


1 


Thus  the  inversion  of  the  two  minor  seconds  produces  two  major  sevenths 
(Xos.  1  and  4),  containing  live  whole  steps  and  one  half  step;  and  tlit;  in- 
version of  the  major  seconds  produces  live  minor  sevenths,  containing  live 

whole  steps. 

The  ovbnr  comes  next,  containing  six  whole  steps;  it  is  called  jKrfrt, 

and  all  the  octaves  in  the  scale  are  perfect. 

It  is  more  convenient  to  use  the  half  step  as  a  measure  for  intervals  than 
touse  whole  and  half  steps;  therefore  we  shall  in  tli(!  future  use  the  half 

ste}),  or  semitone. 

It  will  be  found  that  bv  adding  together  the  number  of  half  steps  in  any 
interval  and  its  inversion,  the  result  is  always  twelve,  the  number  m 
the  octave;  therefore,  to  find  the  number  in  any  large  interval,  subtract 
the  number  in  its  smaller  invei-sion  from  twelve.  'Hms  the  major  i  'cond 
has  two  half  steps,  therefore  its  inversion  must  have  ten. 


6 


THE  lU.EMEXTS    OF   VOCAL   HARMOXV 


RECAPITULATION 


il 


Thuro  arc  seven  of  oacli  <.t"   llie  iiilervals,  so  far  given,  in  the  major 
scale. 

Seconds  —  five  major,  two  niimn. 
Tliinls — •  three  major,  four  minor. 
Foui'lhs  —  six  [leil'eet,  one  ani,fmente(h 
Fifths  — six  jierfect,  one  diminishech 
Sixtlis  —  four  major,  tliree  minor. 
Sevenths  — two  major,  live  minor. 

Or,  arrant^ed  aec-onhui;'  to  their  inversions,  — 
Five  major  seconds  inverted  make  live  nunor  si'venths. 
'J' wo  minor  seconds  inverted  make  two  major  seventiis. 
Three  major  thirds  inverted  make  tlnve  minor  sixths. 
Four  minor  tlurds  inverted  make  four  major  sixths. 
Six  perfect  fourths  inverted  make  six  perfect  liftlis. 
One  auLimented  fourth  inverted  makes  one  diminished  fifth. 

Tlie  inversion  of  major  ])roduees  minor,  and  the  reverse. 

The  inversion  of  jierfi'ct  pnxhices  perfect. 

Tlie  inversion  of  autj^mented  prochiees  diminislied,  and  tlie  reverse. 

An  interval  and  its  inversion  together  make  twelve  half  steps. 

It  is  necessary  now  to  say  something  more  ahout  the  scale.  Every 
degree  in  the  scale  has  a  name.  The  first,  or  keynote,  is  called  the  Tonk^ 
the  ground  tone,  Ihial,  the  starting  point,  to  which  every  note  and  chord  in 
tiie  scale  is  referred.  The  second  note  is  called  the  Siiiir/idiiic,  that  is, 
ahove  the  tonic;  the  third  is  called  the  Mnliant,  meaning  middle,  for  the 
following  reason:  the  fifth  is  called  the  Dnmiiunif,  which  means  ridinfj 
note,  it  heing  the  note  that  hears  the  harmony  that  decides  the  key  (see 
note);  and  the  Mediant,  or  middle  note,  is  so  called,  hecanse  it  is  halfway 
bt'tween  the  Tonic  and  the  Dominant.  The  fourth  degree  is  called  the  Suh- 
dnin'nd/if,  that  is.  under  Dominant,  hecanso  it  is  the  same  distance  helow 
the  Tonic  that  the  Dominant  is  ah'»ve.     The  sixth  degree  is  called  the  Sub- 


J' 


L'li,  in  the  nujor 


fifth. 


llic  re  verso. 
I'  steps. 

p  scale.  Every 
eiilled  tlie  Tonic, 
loto  and  elinrd  in 
;inrtinui\  that  is, 
r  middle,  for  th(i 
leh  means  rulimj 
des  the  key  (see 
mse  it  is  halfway 
is  ealled  the  Suh- 
e  distance  helow 
is  ealled  the  Suh- 


SCALES 


,„.,fi,„t  that  is  under  Mediant,  heeause  it  is  halfway  between  the  l.mie 
.,nd  the  Snhd..n.inant.  'ri.e  seventh  de.^Mvo  is  called  the  Lauluii/  tone 
hceause  of  its  tendency  to  ascend,  or  U-ad  to  the  keynote. 


Toiii 


Mniiaiit.      Doiiiiiiivnt. 


Siiliiiiciliaiit.    Sulicliiiniiiaiit. 


NuTK  -Tho  nanw  ,l..nnnant  l.as  Imv,,  retain.-l  fn.,,.  thr  ...rlrsiastical  syst-in,  ^vl..•,•o 
it  was  usM  will,  a  .liir...vMt  uu-.imw^,  n:um'U;  it  was  ll..  iv\u,\vA  vvclUuy;  ucte,  an.l  was 


licit  alw;ivs  the  tU'tli  digrce. 


REVIEW 


1. 

2, 

(t 
o. 

called  ? 

4. 

Tt. 

0. 

7. 

8. 

11. 

10. 

a  sixth 

U. 

letters 

1-2. 

i;!. 
It. 

IT), 
step? 
10. 


What  is  the  moaning  of  the  word  scale? 

What  succession  of  sounds  constitutes  ;v  major  scale? 

If   a  major  scale    is  divided   into   two  groui)s,   what  arc  these  ^M'oups 

What  is  the  nriangcmcnt  of  whole  and  half  steps  in  these  groups? 
What  is  the  interval  hetwcen  tlie  tetrachords? 
Which  iialf  of  a  scale  may  every  tetrachord  be? 
What  are  scales  called  that  have  the  same  tetrachord? 
What  is  the  dilTcrence  in  pitch  between  two  sounds  ealled? 
What  tletermincs  the  name  of  .".n  interval? 

How  many  letters   are  inclu.led  hi  a  second?  a  third?  a  fourth?  a  llfth? 
?  a  seventh  ?  an  octavo  ? 

Is  the  name  of  an  interval  changed  by  making  either  or  both  of   the 
sharp,  or  Hat,  or  natural? 
Which  is  the  smallest  interval? 
Arc  all  seconds  alike? 
How  do  thoy  ditTer? 
What  is  the  second  with  a  whole  step  called?     The  second  with  a  half 

What  do  major  and  minor  mean? 


I 


i 


I 


8 


THE  FJ.EMEXTS  OF   VOCAL   HARMONY 


17.  II(nv  iii.iiiy  minor  kccoikIs  in  tiio  hchI.'? 

|M.  Ili'twct'ii  whicli  (If^'iVfN  of  till' r^(':ilf  do  tlu'V  oociir? 

I'.l.  How  niiiiiy  niiijor  mcoikN  in  tlic  -^ciilf?     Wiicic!  do  tlicy  occur? 

-'(».  How  iiiiiv  Hie  li'truciiord  now  lie  (Iclinod?     And  the  scale? 

•Jl.  How  many  letters  are  in  tiu'  .scale? 

•11.  What  is  the  ci«|;htli  letter? 

L'.'i.  How  many  of  each  JMterval  may  l)e  found  in  tiic  scale? 

'1\.  How  many  steps  in  .a  major  tliird?     In  a  minor  third? 

•i").  How  many  major  lliinLs  in  the  scale?  On  which  de-rroes  of  the  scale  are 
they  found  ? 

•JC.  How  many  steps  in  a  perfect  fonrlh? 

27.  How  many  perfect  fourths  in  the  scale? 

•2M.  Wliat  i.s  tiie  oilier  fourth  in  the  scale  called?  How  many  steps  in  it? 
On  whicii  dejirei'  of  the  scale  is  it  found? 

•j;».  How  is  an  interval  invi'rti'd? 

;il>.  W'lmt  interval  results  from  the  inversion  of  a  fourth? 

."1.  If  a  perfect  fourtii  is  ic/erted  what  kind  of  a  lifth  results? 

r>J.  How  many  pt'rfect  llfti  ;  in  llic  scale?  How  many  steits  in  a  perfect 
lifth? 

;i."'.  What  kind  of  a  lifth  results  from  the  inversion  of  an  au,i,nnenleil  fourth/ 
How  many  steps  in  it  ? 

;'>l.   On  which  decree  of  the  scale  is  the  diminished  lifth  found? 

;!.').    What  interval  jiroduces,  when  inverted,  :i  sixth? 

;t<I.  AVhcn  a  major  interval  is  inverted  what  is  the  resuUin«;  interval?  AVheu 
a  minor  intervid  is  inverted?  When  a  perfect  interval  is  inverted?  When  an 
aniiinontei'  interval  is  inverted?     \  diminished? 

.■!7.  'I'lierc  bein.u-  tiu'ce  major  thirds  in  the  scale,  how  many  minor  sixths  are 
there?     How  many  major  sixths? 

;iS.    How  many  steps  in  a  minor  sixth?     How  many  in  a  m.ajor  sixth? 

o'.l.  What  interval  produces,  when  inverted,  a  seventh?  How  many  major 
sevenths  in  the  scale?     How  many  minor? 

■10.    How  many  steps  in  a  major  seventh?     In  a  minor  seventh? 

II.    How  many  steps  in  an  octave? 

M.    What  interval  is  used  as  a  measure? 

•!•'!.    How  many  half  steps  in  an  octave? 

•t  I.  If  the  number  of  half  steps  in  an  interval  and  its  inversion  are  added 
to^^ctlier.  what  number  will  be  produced? 


.UOM- 


<>  tlicy  occur? 
lie  sciilo? 


icalc? 

lini? 

ih'<'roos  of  tlio  scale  arc 


low  inaiiy  steps  in  it? 

til? 

1  results? 

any  steps  in  a  jjcrfcct 

an  aujrnicnteil  fourth? 

Ii  found? 


SCAL/iS 


Ary    How  umy  the  number  of  half  stops  in  a  Uirt,'c  interval  be  found? 

46'.  If  an  interval  has  three  half  steps,  how  n.any  will  its  inversion  have. 
Five  half  steps?     One  half  stei)? 

47     Whatiutervalhas  throe  half  steps  ^  .,       .     ,    ,   v 

Ih.  What  two  intervals  are  alike  in  the  nun^ber  of  half  steps  they  mclu.le . - 
Whv  do  they  bear  ilifferent  names?  .,     •  .i     r.,-  . 

r..     What  kind  of  second,  third,  fourth,  fifth,  sixth,  seventh,  .s  o,»  the  lust 

de^M-eeof  the  scale? 

rUepcat  the  question  for  every  detirec  of  the  s     le.J 

r,0.    What  names  arc  given  to  the  degrees  of  the  scale  i 
1     What  does  S..pertonic  mean?     Why  is  the  th.rd  degree  calle.l    I  e       .- 
,,„;:;?     Why  is  the  Bixth  called  the  .S.Jnn.Uant  ?     Why  is  the  fourth  calle.l  the 

V>     Why  is  the  fifth  dcfrrec  called  the  Dominant/ 

-,;5.   Why  is  the  seventh  degree  called  the  Leudnii,  'J one. 


idtiuii  interval?     WJien 
s  inverteil?     \\lien  an 

nianv  minor  sixths  are 


a  m.ijor  sixth? 

h?     How  many  major 

seventh? 


ts  inversion  are  added 


10 


////;  /:i./:M/:xrs  of  i\u:u.  jf.iAw/oxy 


ClIAPTKIi    II 


M  1:1.01  )V 


'i: 


MKLODV  is  a  suc.rssi.wi  nf  soiiimIs  n|-  .liU'riviil  pKrli  :  in  its  sinipl.st 
I'nnil  ill!  tllrsc  sollllds  Lrlnlit.-  |.,  |i„.    s.iii.'  uy  k.'V  ill   ui,i,l,  tllC  lllrl- 

0(ly  is  writt.Mi.     Hut   this  siicucssioii  ,,|'   smiiids  <.f   .lilVrivnt  |iit.'li    is  iw-t 

•'""".-''    "f    il>^<'"'    <"    I'lM-llKv    ;,     l,„in,|y.        'I'll,,    s |,|s    inilst     l„.    1  |,  yl  lllllic. 

Hint    is,  tlicir  iliirati.pii   must    he  rc-iil;ilf«l   I.y  sdiiic  staiidiinl. 

IMiUliiii  is  111.,  nruiiviin-  of  a  stivss  ,,.•  if.r.il  at  cpial  i-nio.Is  of  (ini... 
Tliciv  aiv  two  Isiii.ls:  First,  tiu-  priinan  ilnliiiii,  wlii.l,  is  tl„.  ir.r„lar  iv.ur- 
ivi..r  just  .ii,.iitin,H..l:  as  1-J,  "l-li;  .,r,  l-l.'-:i/l-:2-:i.  S...M.n.l?  Hi.,  s.c.m- 
(larv  rliylliiii,  Nvliicli  is  ma.lr  i.v  (livi.liii-r  tlu-  r.|uai  jailscs  nf  tlir  primary 
rliytlim  in  various  ways.  Tlu-  primary  rliythm  is  iiKJi.atcd  i,v  tli,-  tiin'c 
si-iiatuiv:  llu"  sccomlary  rliytlim,  I.y  the  valiifs  ol'  th.' iK.t.s  in"  whi.li  the 
liu'lody   is  written. 

Ill  till'  mclodirs  that  follow,  examples  of  nearly  all  (lie  intervals  that 
may  l.e  found  iii  the  seale  of  C  are  niv.'ii.  Students  should  nive  the 
nume  of  every  interval  and  its  nature,  that  is.  whether  miiioi',  major  or 
perfeet,   etc.  ' 


tJ 


-J  -J 


-r1 


I 


li: 


\^-A — I    ..:J 


■0  '   '^ 


^^iL^iN 


0 


-t:::-J 


fit  ^  _;  ^ij-it- ::^ii^-^i  ti?iaijp^ro 


j/c;A'i' 


M  F.I  Aim- 


II 


'iti'li  :  ill  \u  sini|i!tst 
f.v  ill  wliich  till'  111(1- 

illVlflit  pitrll  is  Mot 
'  iinist  !)(.  iliy(liiiii(., 
iiiidiiiil. 

ipiiil  pnidds  of  (iiiif. 

is  the  iiMTiilar  ivcur- 

SfCdiid.  the  sicoii- 

llscs    nf    the    jililiiiii'V 

lii'iitfil   liy    the    tiiiic 
iidtfs  ill   wliicli   (lie 

I  'lie  iiitcrviils  tliat 
its  sliiiiild  !4ivi'  tlic 
ler  iniiKir,  niajor,  or 


TTJ  II 


-J--— f. — I 


-t 


J] 


•     '     •        ,2^ 


[(?]n"i^.i.-i-T-i-^"^f^'::iji 

r  J — r  0         I  •    — ~~^  .    11         '"  ''"■  ••^•""1''''  ''''"  f""""^'  •'■M'"  "f  ""• 

/>       *■'    •    *    ^i'     *  I  '     „_r  ,-t:'    U     ii.Miiil  intfi\,ilr.arc  iiiir...lii..'d. 


't7 


Tl..'  iiiakiii-  of  ii  nnnd  iii.'lndy  is  u  iiatural  -ift.  .wt  (Iinv  an;  (■.■ilaiii 
Maliiral  laws  to  wliirh  all  -ond  nulndirs  ruiilniiu.  'ihr  simplest  f..nnof 
lurlndy  is  callrd  l.vrir.  or  son-  lorm.  or  '/"'"•■■  l'"nn.  fn-n.  tlu-  tact  tliat  tli." 
inusi.."f.a'  danciiicr  was  onoii.allv  sun-.  Thrsr  .la.i.ii.-  sun-s  wnv  .'allrd 
ll.dhnh,  tV.mia  i.atiii  word  /■''//'/•  t..  daiuv,  rmni  wliMir..  conic  alsn  our 
\v,,rds  — A.^//'7  and  h^iH.  It  was  pmhaMy  tlic  ncrr  sily  I'nr  exact  iiK.vcinciit 
ill  daiicin-  that  liist  .•mni-cllcd  music  t,p  he  ihythmical.  The  -rival  iiiajniity 
nf  lyii,'  nich.dics  will  h.-  found  to  cmtain  siMicii  measures  (.MJled  a 
y»Wr'.-/),  Willi  a  markc.l  pause,  or  arivst  ..f  mulinii.  in  the  ei-hth  mcasuiv, 
dividiu-  the  me!o<lv  into  two  parts  (.ailed  sniin,.).  Kach  s..tioM  will 
be  found  to  consist 'nf  t  vvu  inemhers  (calld  y,/wws,x).  Then-  may  or  may 
lu.t  he  an  arresl  of  motion  at  the  ,.ud  ..f  the  lirst  phrase  ot  each  section, 
but  tluM'o  is  always  a  change  in  the  motion,  the  eifc.'t  of  whi.d.  is  to 
make  the  second  plirasi;  sound  like  a  response  to  the  lirsl ;  or,  to  change 


i^iidi  m^Mitm^nn 


mmmm 


t 


ta 


/•//A-  /•.7.A^J//,•,^7.<^  ,)/■•  rocA/  //aaw/uxi' 


«'"•  'Y'''-'-  I<^"1'  pli-'.is.'  iniu  aUn  1...  M,lMli\i,|...I  i.itu  tun  f,„..„„.n(s 
(.■alr.l  ,„u,n:.).  'I  |„.  ,,,l,„i..„  Im,u.,,,  ||„.  uu.U^rs  niav  !..■  rnmiMinl 
'".  ;'''"  '"■'"'■•"  '•  """"  an.l  ;.  N..,I,;..;„.h  is  ...M. .pl.t,.  in"it.s..lf,l,ulirwo 
wi^-h   t.i   iii;ikr  a   |iiM|M)Mti(.ii   tliry  liiiisl    l.c  jniiif.l. 

Tlirs,.    a.ialnnirs    l,rlU.,..l  l„„si,-  ail-l  laii-ii.i-..  must   Uni   1...  „ns|;,K..„    fnr 

■'■  "'^"'  ■^li:i'l"u.v  nsnnhlaii.vs:  lliry  aiv  iiv-l  umivIv  as  aids 

,    ''•''"'  ;""''";'i;''^^^il I"iin'l   I-  li.-i„ .ill,.,.  ,1,;,  lirsl.  tli'inl.oriifd, 

••I    lli.'M.al...      II,..  ,•„..,  „„|  ,|,inl   pl.raM.s  uill  s.tv  nf|..„  ..,,,1  ,.„   ih..  Iif,|, 
M-wnth.  n,.  ,n..il,  (/.  ...  tlu.  M...n,.,|).     My  sn„,„|i„.  ,|,,  ,i,.t,  i|,i,..l,  ai..l  lift!,, 

;,V',"'" ■'  "''•"   '^  '■ '   ""■  '""''•  "••  l^-'y  ''f'-M.      I5v  snnwUw^  t,..r..tl,,,.  ,|„, 

mill.  s.N.nilu  ami   mull,,  uv  ;.■,■(    ul,at  is  rail..,!  tl,.:  ,|.,n,i„a.,t  ..|„m.I.      |{.,tl, 
s.v,,..,,s..ndnn(l,,.  li.M.ihinl..,,.  lil',|,./.,,,,|,,,  ,,,,,!,  ,,,,,,,,,,,,,,,,, ,i^ 

ln.-t  .inrs    ,„„  ,.        I  I,.,    srr.Ml.l  M...li.„,  ^vUrraily  lir-iMs  witll    sr...„„l,    tif,|,.  „, 
S';N«'titli.  ^  ...  will,   tl...  .IniMJiiai.l   clinr.l:  ,„■  it    iiiav  l..-iii  will,   tl.c  rn.irll. 
.MNlli.  nr  ..,^|„|,.      Tl,..s..  tl.,...,.  s..,u.,|..,|   tn^.,,1,.,,  „„K..  ul,;„   is  ,.all,.,|  ,],;. 
.s,.I..I..M.,na,.t  H.nnl.     ol.,,,,.,  ,|„,|    i„  „..>..  ,1,,....  .h.-nls  an-  iM.l.ulc.l  all 
(I. I'  .!ci;iv..s  III   tli(.  seal...      'ri,iis:  — 


4 


A  ('  .Siili.l.iiiiii.atit  (.|,()i'.|. 

0  « 

^  K  CJ         'I'oi.ii.  cliord. 

1  3  fl 


9  1*  '>         noiniiifii.t  (.1.01(1. 

5  7         <i  ,„•  2 

Tliny  is  als,.,„„.  ],.|,,,,  i„  o„„„„„„   l„,,,v,vn   tl..-  ,sul..!o,.,i„aMt   a.ul   toi.ir 

"."•^  '"''^''•'•"   ''"•  •""'••    ""-•    «l'-n.iiiaul:    and  if   we  nw.si.I..,.   tl.r  t ,•    as 

<'"■;•■"!'•"'  •■'"";'.   ^vl.i,.l.   it   is.   i,   is  ,..„.n..<.t.Ml   at  ,.,...    extreme  with    (I,. 
.suiHl.ai.inaiit  ai.d  at  tl...  ..tl.,...  with  the  dominant. 

The  tw..  i....l.Mli..s  that  Inllnw  will  illiistraf..  th.-  (nvOirnhvr  ronuuks 


^i>rtli.ri. 


riii-i 


'lini> 


I 


mmmmmmm 


i/i'xy 


.]//:/.o/>y 


»3 


ninl     is   ;t    (I.'scciit,  or 

iiitn    1\\(.    l'i;iL;iii(iits 

M  may   Im'    cniiiiian.il 

tf  ill  itscir,  1)111  if  ui) 

Mnf  Ik-  iiiistaKiii   fnr 
ly  as  aids. 

K'  llist.  tliinl.  nr  lil'ili 
I'll  tiiil  (.11  (li,.  lifili. 
lii-t,  lliinl.  and  lifili, 
iniidiiii,r  (n^^rrdii  r  (lie 
iiiliaiit  rlmi'd.  I'xilli 
■llnid  (siillli'tilllcs   til(> 

kith  sccdiid.  tii'lii.  nr 
,L,dii  with  the  ruiiith. 
t'  wliat  is  called  ihc 
ids  aif  iiK'liided  all 


l>()iniii!iiit  clionl. 

Iniiiiiiant  and  tnnip, 
nsidcr  (lie  ti.nic  as 
'   I'xtieuio  with    die 

tfoiiicf  roniaiks. 


Iini> 


r3 


Moth 


^flll'lll 


I'lllAM 


riiiik." 


MuiiM'. 


Moiiu'. 


Moliuv 


mmuvu.  .,..,....  >      '  I       #  •  r  ,    I 

'Hiis  isuKhnpl.  .'xaiiipl.,  .vs.mhliu^  .  "  l..lKs.a.y.-'     Obca^c  ih.  IwU 

iiiwiii''  I'i"''^  altouL  it :     -  ,  ,i  ,,,1 

l.'l,   l.,.,dns  nn  tiu.  Ihinl  d..,MV..;  tlK.  lirst   ,,lnas..  ..ids  .„,  Ih.  ^-nd 

.,,„.,,,,„;    Uu.  lirst  s....tinH  -nds  nn  tli.  Uyun.-:    llu.thnd  pl.ias..  .uds  ..u 

„;s..,nHd     d..„v..;     th.....n,ld     snti....     .Uds     ....     til-     k.,..nt..     (..•..    .• 

n.   Th.Mi,st  ,;;..iv..nr  cvny  phn.s.  l.,i..s  with  the  sa..,.  .hyth^^^^^^^ 
s.on,   nauudv,  a  dm,..!  m-.H.'^  ^•i;;!'^!"...!.-.  un.     tun  nua.u.s       11.    M 

,,.stmntiv.;.ni...s,.o,,da,,d  las,  ,.l.ras..sa.valik..;  .!..■-■ ";"': 

U...  sanu.  ,.l..as..s  a.v  alsn  aiil.^  |.xn,.t   that  ill  .hi.  las.   nl.n..  tl...  las  . 

„nt.s  aiv  a.,  ncasi-  hi.h.r.  Sin,  th.  .mdndy,  and  uhs.-nv  how  inuidi  t  ,> 
sli.^ht  .ha.iu..  inti.nsilU.s  th.  .tiVrl.  The  son.nd  scctnm  hi-n.s  .m  .h. 
si'cuud  dfUifc  (if  tl.i'  scale. 


Si'i  limi. 


i'lir 


I'lira-i', 


Muii\L'. 


MnliM,'. 


r*if» 


t  t-:; 


*-• 


■L-^JP^- 


1    i-# 


Ml.tiM 

«. 


MnliM'. 


'^        O    1    '^        .      ^ 


P'Oi-'Iff'fl 


It.  p 


SlTtlClll. 


I'hnis 


I'll 


Miiihc. 


Mc.tivo. 


Mi.livc. 


iXlL f- I  t—       — ' -. '^  rmnil. 

Tin.  n.id.idv  hi-ins  .m  the  kcym.te;  th.  thst  phrase  ends  nn  the  seventh 
.l,„,ve-  til.-  seVn.id  and  hmrth  sections  end  on  the  keynote-,  as  in  t..-  h..'n..-r 
example-;  the  rhvlhmic  form  of  the  first  motive  is  ivp..-ated  at  the  bey.nmng 


14 


THE  i:ij:mi:.\ts  of  vocal  jiarmo.w 


o    cv.MT  phnisr;  tlu.  last  ,,I,rasr  l„-i„s  witl.  xW  sanu.  nu.tiu.  as  H  .  sen.,,,! 

)l)srrvr  tl,..  rlLcl  thai  is  i,.n.l.UH..l  l.y  tl.r  slight  d.ang.  of  th.  l.rst  luutivr" 
I'.v  ^^.In-'  i  n  In.-.nnu.s  tlu-  thinl  n.miv.,  uaiu.ly,  the  s.nm.l  ■■..asur.  i«  ,„ovc.i 
a  lh.nl  hinhrr.  I  he  s,.„n,l  smion  hc-ins  ,.,,  Uk-  «ixth  .,1'  tlu-  ..■.Ic  It 
1UU..I   nnUn.  sui.i,..snl    .hat   all  b  ,■;.■  Mu.hKli.s   InUnw  tla-s..  si.npl"    '.noil.ls 

la..v  varutu-s  uill   h.-  puinlr.l  .,ut  wh.,.  sutliei.nt   knuuh.lge  of  hartnonv 

as  licni  yaim'd  lo  luakL-  llu'in  iiilflli-ihk-. 


1. 


REVIEW 


I.    \\'liat  is  a  mrlodv? 


■^.    WUM.  utiuT  quality  nu.st  scu.ls  ,.,.ssoss  in  acUlilion  to  dinv.vnce  of  ,.i 


Jiitcli 


o-    Wlial  is  riiyliinr:' 

•1.    How  is  riiytliin  (iividod? 

r».    I  >i'liin-' primary  and  secondary  rhyUim. 

(>.    How  is  primary  rliytlun  indicated':' 

7.    How  is  sec'ondaiy  liiythm  indicated? 

.^.    Wiiat  name  is  o-iy,,,,  «,  tiie  simplest  form  of  melody? 

'■'.    How  many  measures  con>titute  a  lyric  melody? 
1<>.    How  are  they  divided? 

11.    Ipon  uin,.h  de-rees  ,,f  the  scale  .lo  these  melo.lies  generally  he-nn? 
1-'.    I  poll  which  chords  do  111,,  plirases  end?  '       ° 

'•'•'-    or  which  den-rees  ot   the  s.-ale  does  the  tonic  chord  consist?     Tiio  d..n.i. 
iiant  chord  r      I'ho  snhdominant  chord  ? 

1  I.    Cive  the  letters  forming;  these  chords  in  the  scale  of  C. 
1.-..    Which  d.-ree  of  the  s„de  is  cnnun.m  to  the  tonic  and".Iominant  chonls? 
\\  Incli  to  the  tonic  and  snlidominant  chords? 


VA/OAi' 


TWO  rAur  coMii/xArioxs 


»5 


f  iiiotivi'  as  tl\'S(T..H(l. 
uj^v  of  thu  lirst  motive, 
'I'oiid  uuMsure  i.s  movi'd 
sixth  of  ill,,  seal,..  Jt 
v  tiifsc  siiiiplf  models. 
kiio\vle<lge  of  lianiioiiv 


ion  to  dilTorciicc  of  jiitcli 


's  geiierally  licgiii? 

rd  eonsislr     Tlio  tloini- 

of  C. 

'  and  dominant  clioi'ds? 


CHAPTER   111 

TWO-PART   COMlilNATlONS 
Y       mium-.      Tl.L.   r.,ll,nvi..i;   cxiiinplcs    lo.    t»o 

;^:';:'rir:;u;u.a..,u. ;>  .;.."•.. 

;,: ,.  T,.  s,.„.  .u>,  u.  ^;\^ix  r:!;;t^:-,„,  .i„.  .1,0  .xu, 

Ko.   3  is  the  inversion  ot   No.   I,  Nvm^'i  ^. 
heh.w  eaeh  degm".  _^  ,  ^^,^^j^,  ^^.j^j,  .j.o  sixth 

No.  4  is  tlie  mvorsioii  ot  N<>.  -,  \\iii*^"  o' 

ahove  each  degree.  .  ,  .    ,  p  A  to  (1  l'>, 

i„o-    111   sueeession    the    tluia>,  ,i,..,vfore  thev  mav  he  used 

m  (U'seeiuling.      i  m  u  is  •  measure    s  Die  same  as 

ll.inls  „ml  sixths  t,.  1«-  ^snlWn  in  sn.-,-oss».n. 

Wl.i.-I,  is  tl.e  k,,st  agn-oal,!.'  "f  lla'so  »i.,,ncn™»  I 


^1 


16 


No.  1 


7y/A-  /-.LE.ULWJS  OF   IVCAL   llANMOXY 
*  No.  2 


No.  3 


.   g  ^^:i3: 


^   g 


11 


*~* 


^g3g::iC:>^ 


0 


t^ 


-o- 


No.  4 


D 


,._^' 


>y  ^   ^   ^ 


D 


No.  5 


"i^mmnm^^n-fm^ 


,  - 1 


^      -:? 


No.  6  __       J  I 


I  f  -  r 


I  I   r  i 


_.    No.  7        ^  I  I  11 


--  .^  ^  r- 


In  tlH>  K x.Mvi.sc..s  tl.at  f..]low.  point  out  the  suoccssions  that  are  to  be 
louiKl  III  tlu"  torcn-ojiijr  se([Ueiiic.s. 


}A'V 


:2--0=l; 


0 


'^    <■'    '- 


D 


wwm 


-->-  ?■ 


^  -c>- 


i\z3- 


-1 


:  f ':-  "^^ 


D 


IS  that  arc  to  be 


^^^iM. 


TWO-PART  COMBIXA  770.VS 


17 


4  .  J 


I    I 


'n 


H 


■f 


1 


I 


e.\'^d'-' 


r 


#  ^ 


fii-M-i^ 


Write  thinls  an.l  sixths  b^lnw  tl>e  follouin^r  .xanq-h'S.  T.n.k  jit  the 
nJ;tn  inCl.pt..' VI  about  the  .o-nbination  o  sou,.,  s  wUh  w Wh  . 
ulhHlv  begins.     Look  also  at  the  rules  and  exau,,.les  .n  Cha,t-    \  ^    -^ 


n 

'I 
1^ 


i8 


7v//-:  j:lj:Mj:a-7s  of  vocal  jiarmomy 


vc 


(lie  vnric.us  ways  in  wliicli  twn-piirt  music  may  iK-in  uikUmuI.  Obscr,. 
.•arciiiUy  tin;  iviiiark  aliouL  tliiids  on  tlii'  lourtli  ami  lil'ili  „r  Hh.  scale  in 
CliapU'ilII. 


Write  a  scqm'iici"  cf   aJtornatc   lliinls  an.l  sixths  1pc1,.\v  tlio    following 
melody  (No.  1;.     Write  a  seiiUciicc  ol'  sixths  and  thiids  below  Xo.  2. 


No.  1 


-  o— 


^^  ^\^t\  - 


•& 


1 


-,'5' 


-It 


§ 


-=t- 


«5S        =1 


•3]  r-zT- 


e^ 


I 


L'-r^t 


:z1— 


1^': 


t^l\^ 


nTliL'iy  :iie  tliroe  su(jiiciice.s  in 
tliifi.  'I'lic  last  four  measures 
are  not  in  .se<]uonue. 


No.  2 


«-__ 


-i5( ^ 


-rl 


^^s  r-p 


a* .. 

I •5' 


-IT 


^ 


4= 


Etdi^D 


REVIEW 


1.  AVhicli  fliinls  slioiild  W  MVoiMtnl  in  siiccossioii  ? 

'1.  Is  tills  succcssidii  tMiually  inipK-asaiit  in  dcs.rndin-  as  in  MscMidini;? 

.'{.  WluMi  this  siicci'ssion  is  invortod  is  its  Inushncss  still  i)(T(Ti)tiblo?"' 

4.  Wlwit  is  meant  by  a  sc(infnee? 

n     In   which  voice  in   two-part  writing  shouhi    the    leai)  of   the    aii-niented 
fourth  bo  avoided'' 


■y 

1(1  (.'iiil.     Obsfivo 
ill  (if  llif  .scult  ill 


i^m 


'-ifEl 


im\] 


i 


\v  tlio    following 
'low  'So.  '2. 


I 


^ 


'  tliive  su(jiiciice.s  in 
last  fdur  iiiuasurcs 
■c'(]uoiiue. 


r>  -<!>' 


r-^ 


!is('('ii(1iii!;? 
■(•jjtiblo':' 

the    aimniciitod 


■JJ//'    OCTAIK 


19 


CllAPTEU   IV 

THE   OCTAVK 

THE  next  intevvi.l  in  in.iul  of  agivo.blon.ss  is  the  octavo;  but  its  use 
is   ivstvict(.-a    by    the   following   rules: 
1     Oetaves  may  not  be  wntteu  in  sueeess.o.i  like  thirds  or  Mxths     tli    (. 
J's^^.  stand  alone,  having  some  other  interval  before  and  alter 

''"t  The   octave   may   eon.c   in   only   .hen   the   voices   are   moving   in 
'^''^'^^rii   an  octave  to  an   interval  does  not   change    Us   name 


(modifications  will  be  made  in  due  time).     Thus 


2 


V 


I 


.,re  both  called  thirds,  although  No.  2  is  a  third  plus  an  octave,  making  a 
.t         Now,  as  the  octave  must  be  approached  by  the  voices  moving    n 
!;;;ltite    directions,   it   is   evident   that   the    interval    before    .t    must    be 
cither  less  or  greater  than  the  o.Lave. 


e 


2 


J 


(5- 


J  '> ^..  '  ''     •<>     ->     -V 


Those  examples  give  every  possible  way  that  the  octavo    may    occur, 

preceded  bv  a  third  or  sixth.  •         ,    ,  . 

In  Nos'  r,  and  (i  one  of  the  members  is  statnuiary,  v.  '.,  belongs  to 
both  chords.  This  is  called  vhli<iac  motion,  i.  r.,  one  voice  stationary, 
the  other  moving.  ^b.tion  in  opposite  directions  is  called  cnutranf 
motion;   in  the  same  direction,  <Und  or  jmrallcl. 


_    I       -»■--, I  'i  ■       iTnr  n  I  ir I ii»iriiTiTiil«tffTarri>'l'W>tiW 


jliijijiitf' 


-  % 


77//C  i:i.i:mi:xts  of  vocal  jiarmo.w 


ri> 


No.    1.    Octavf  pivcTdcl  I.y  tontli,  ((.iitniry  motion. 

Nns.   -1  and  ;{.    O.iiivf  purrdr.!  I.y  tnill.,   oI,li,,,„.  motion. 

Ilif  tenth  is  the  lai-cst  intrrval  admittrd  in  two-pail  mnsic.     TIics,. 
snr.M.ss.ons  n.ay  all  W  ma,!,-  into  sn,n».nci-,s.     As  a  -nidr  lo  the  stnd.'nt 
ur   K'v..    two   iiR.asnms  ol'  ,,u.i,   .su,.,..-ssion   umin-,.,!    i„   .M.,,nona"      Thi 
studiMit  slionld  linish  tlirni. 


sc 


No.  1  A.sii'iuiing.  I)i'!*icniliiiR. 


1^^    ''\y    U^   "\ 


No.  2  Awviiiliiijr.         DcM'oiiiliiig 

J         I  '  I  I  '         I 


siq  ,i  -, 


No.  3   A.-^ci'inliiif,'.  DcMTiKiiiif;. 

I 


I  j  I  I 

No.  4  A.s(Tri(liiif;, 


T'r- 

Dosceuiliiig. 


"J 


ii 


1^. 


No.  5   AMciiilii];:.  DcscetiiliTii,'. 


No.  6  As<('iiiliii!,' 

J 


Di'.'^cciiilini.'. 


I:  M^  ^H  M:  ^^  ^1 


I       I 


•^     ,o 


Wlirii  t.-acliinL,'  a  class,  tlicso  sf(|ncnf('s  sliould  1)0  written  on  tlic  I.lark- 
lioanl,  and  snn,<,'.  and  attention  should  he  diiveted  to  the  ioUowinj;' pc.ints: 

1.    Some  sound  much  lietter  than  otheis. 

•1.  'I'hev  sound  ditlVrently  aeeording  to  the  degree  of  tJie  seale  on  whieh 
they  occur. 

;5.  'I  he  elYect  is  alway.s  bad  when  the  h)wer  voice  leai),s  an  auniucntej 
fouith. 

4.  The  elTect  is  l)ad  wlien  the  octave  occui-s  on  the  leading  tone,  there- 
fore the  leading  tone  must  never  he  (h»ul)h'd. 

We  have,  so  far,  obtained yuf  rules  as  to  two-part  writing:  — 


\'J- 


iiidtioii. 

lit  iinisic.     Tlicsc 

li'  ((I  llic  studfiil, 

11     .S('(]UfIlCl'.         'I'llf 


Dcsct'iidiii''. 


^-~-fi> 


i'        ^ 


•i-     I   tit 


Descciiiliiic;. 

I 

'A     »   I 


I>i'S('ciiilin!j 
-5-      r. 


I         I 


i        I 


tti'ii  on  the  hlaok- 
l'(illi)\viiin'  I'oiiits: 

111,'  sfiile  on  wliirli 


THE  OCTAVE 


21 


'  1.    Do  not  ^^•rito  in  suooossion  tli.  major  tliinls  on  the  »ul,.lu.ninuut  un.l 

''''•■:r'lir:nX  .  l.ap  of  angn.ontoa  fonnh  in  tl. /.n  .  ^ 
;.,    Do  „ut  make  an  .u'tavi'  on  the  U-a.Ung  tone. 

4.    Do  not  make  sum'ssions  of  octaves.         .       ,.        .         .     .,„„„,,,,,„ 
;-,.    Tl.evoi.vs  must  always  m.ve  in  opposite  directions  to  an  octave, 

unless  one  voice  is  stationary. 

REVIEW 


1. 

<■■> 


< . 

'.1. 
10, 


Wh.t  interval  ranks  next  to  the  thinl  a.ul  sixth  in  agrecuhlonesB? 
Whtit  nilo  imist  he  ..hserve.l  in  using  octaves.^ 
How  nuistth."  voiei'sniov.' toanoetavo.'' 

"s      e  uhhtion  of  an  oetave  to  a  smaller  interval  change  .  s  nan, 

V  ■  t      nn.  is  .iven  f.  the  motion  when  one  of  the  parts  is  s  atuma  , 

V  a    "he  n,.^ion  called  when  the  voices  move  in  opposite  dnvetuj  > 
wllal  Is  the  motion  called  when  the  voi<-es  move  in  the  same  direction. 
What  is  the  largest  interval  admitted  in  two  parts 

Dm  whieli  degree  of  the  seale  is  the  oetave  forbidden . 

(Uve  the  live  rules  that  must  be  observed  in  two-part  wntnig. 


II 


ps  an  augmented 
iding  ttme,  tliere- 


ing: 


i  liiH.iMiii'iriri""-'-'''--    1 11 11"'"^'  ■■'-«»"■>■»»«>«■»■- 


22 


THE  ELEMI-Xrs  OF   IVC.l/.   //.l/^.l/OXy 


ulways  Stan,    alon.^  tl.^  ..IM  an.l   r..!,......,  ,.  s ^J!  Z^. 

N.t  .     Also,   hko    netaws,   tla.y    u.ust    I.    tak..,.    Uy  ,1...  vni,..    n.nvin.  in 
«l-l-s.  .  .lMv..t.ons,  ..x.v,t  in  two  c-as.s.     A.ain,  lik.  o..,av..s,  tlu.i.     Sv  ' 

qn.n.ls  v.-.v  nn.,;!.  on  tl.o  ,l.,„v..  of  ,1...  s..!..  on  uln.!.  tl.n-  o.-our 
tlu..v  a.v  s.x  iH.,.,.„.t  ,i,„,s  in  ,1..  ...1..,  .a.!,  of  tl..  follouin,  sueo..ssi,; 
|.ayoc..-ur  s.x  t.Ma.s:  ,1..  .xan:pi.s  that  follou-  .ive  .vcn-  ^un■  in      1  ich 
It  IS  possihlf  fur  tl.c  lifth  to  o,x-ur.  ^       ^  ' 


2  3 


-t^- 


— I 


I^^T 


8 


■f>-   -&- 


_r, :_         *"  "  -12  13  14  15  16  17 

No.  1  is  not  vm-  aMivcal.!,.,  ,.x-,.,.,,t  wIum.  it  iH.uins  on  tl.r  sixth  of  tl.e 
•M'al..  I  ,,„s:  .W'  follouv.1  ],-  (M).  Wlu.  it  iK.^ins  on  tlu-  tiftl.  of  tl' 0 
«eale  .t  is  intol.Tahl...      Tln.s:  (iJ5  lollowo<l  In-  \^.     Xos.  2  an.l  ^5  ,lo  not 

.      .       H.  tho.r  ..  lo,.t      Nos.  4  an.l  f,  s..„n.l  I,..st  lK..i„„i„.  „„  the  thir.l  of 

N.  s    S  t  M-'     '  ""/'"',  ""'•^''  "''■  --^"-     >^'<-  •!  -'.1  -  ar..  ......1  ..n  any  .lo^nv. 

^....  .S  to  1.,  sound  wc.ll  on  any  ,l.,^nv...     ()hs..ne  that  .,n.  n.,to  i.;  .sUiti.m- 


yy 


tlic  i.rrf(Tt  fil'tli. 
•cssinii,  liiit  iiiiist 
<oiiu'  (itlicr  iiitcr- 
k'licfs  iiKiviiiH-  ill 
iivfs,  tlici'-  circct 
tlirv  occur.  As 
wiiii;'  succissiniis 
ly  way  ill  v.liicii 


16 


17 


l:^llil 


tlio  sixdi  of  the 
llic  iil'tli  of  till) 

2  and  ;5  do  not 

lit'tli  arc  ratlicr 
(  on  tlu!  tliii'd  of 
1  on  any  dcs^nvc. 
note  is  statioii- 


77/A'   /'AAV-V  rr  /7/V7/ 


25 


,,T  N.N.  S  and  !•.  tl.ird  followed  hy  tiftl.:  N"s.  10  and  11,  sixth  loUmvd 
i,;  V.flh-  Nns.  l:i  and  1:5,  o.iavc  follnvud  l.y  i'Mu  aiv  open  to  the  siuno 
.;,.i.,.,i.,ns  as  Nos.  "J  an.l  :'..  Nos.  1  I  and  i:..  tcntii  folh.wcd  1,V  l.lth.  ^o.. 
„;  „,d  17  arc  the  exccpthms  allnded  to.  in  .hich  the  tilth  .s  taken  l.y  the 
voi.cs  n,ovin;4  in  the  same  direction,  in  No.  l.i,  tlu-  npper  voice  ascends 
,,ne  de-iec  and  tho  lit'lh  is  {.receded  l.y  a  sixth. 

Ili\...  17.  the  upper  voice  dcscen.ls  one  .U-ree,  and  the  hllh  is  pie- 
,..dcd  l.v  a  third.  These  snc.essions  sonnd  well  on  any  .h-.ve  ot  the  scale. 
Thev  siiould  all  he  convertc.l  into  se.p.ences,  in  the  way  pointed  ont  m 
tho  preceding'  chapter.  Pupils  should  write  them.  Teaches  should  w.ilo 
them  on  the  l.hudJ.oard  lor  their  pupils  to  sin,-;'. 

The  inversion  of  the  perfect   lifth,  namely,  the  p.-rh-ct   lourlh,  is  not  to 
he  used  at  all  at  present. 

The  intervals  so  hir  <f\vvi\  arc  called  contoninuYH. 

The  majnr  and  minor  thirds  and  sixths  are  called  ;>,>/>rrfrrf  cnso- 
luinccs.      Tiie  i.crfirt  lifth  and  ..clave  C.iud  the  unison;  are  ealle.l  jxrj.rt 

'''''Th'e'inipi'rfi.ct  cons.manres  are  so  callcl  because  they  arc  equally  a-rec- 
ul.le  whether  major  or  minor. 

The  perfect  consonances  arc  so  called  hccausi'  any  alteration  ..t  tlu-m 

produces  a  dissonanci'. 

A  ,h-sson.n,rr  is  an  interval  of  which  .Mther  or  hoth  of  tlu"  sounds  com- 
posin.ir  it  must  move  in  a  certain  direction,  that  is,  one  degree  up  or  down. 
This  is  called  the  ri»ithitl"n  of  the  dissonance. 

In  ad.lin-r  a  second  v..i.'e  hch.w  the  following  cxami.les  use  the  octave 
an.l  lifth,  buU.e  careful  to  have  a  thir.l  (..r  Lmlh)  ..r  sixth  l.ef..re  an.l  after 
everv  ..ctavc  ..r  lifth;  also.  iumU.'  the  v..ic.-s  move  in  ..pi...site  .lirccti.ms  to 
the  '..ctavc,    also  to  th.'   lifth.    ."xcpl  in    ih.'  .'ascs  giv.-n  m  the  examples 

(page  -I-IX  •     •         11  4 

Although  lifth  mav  follow  octavo,  and  (.ctavc  folh.wlifth.it  is  w.-ll  to 
av..id  these  suc.-.'ssioiis.  on  iic.'ount  ..f  their  unmusical  clTct.  In  Kxample 
1  places  are  marked  wh.'re  ..ctavc  ami  lifth  may  he  usc.l 


41 
i  ■ 


f       ' 


n 


'  « 


24 


77//-:  A7./;.)//;.\7-.v  or  i\^ca/.  //./am/,).\  »• 


Ex.  2 


f^|.;.|-Tn-MFr|-jJ|J^-ir7Fll 


Ex   3 


iJ^I-..LtH.  r  n 


X-i*    •    •U     #1^     il'.    •!•    •    #1*    •    •!*  ~^^i  ?TT  n 


Ex.4 


-». — ,-    -"•  •  I  •     ].    «      '^  I  ■"  'L-^  *   "  #  TT~n 

^     '  V.      ■.****     I  ^       t        •    I       _::  ^^r  ...    ^    d    U U 

TliiM"  iinlotUiS  >liiiiilil  111'  lr;iiisiMPsi'il  t(i  ntli.'i-  krys  ainl  nwiitli'ii  rciicitcilly. 


REVIEW 

Wliat  iiitirviil  ranks  next  to  tlio  oclav*'  in  njirocnMonoss? 

In  what  ri'>ii<'cts  (lni>s  llic  nsc  of  tlic  lil'tli  rt'scnililc  llic  use  of  the  ootavi'' 

Which  tliinl  and  llflli  in  tiic  scale  slionid  never  lie  written  in  succossiou f 

Does  a  snccosion  of  tifijis  and  octaves  sonnd  well? 

In  wiiat  cases  may  the  liftii  he  taken  in  direct  (or  parallel)  motion? 

May  tiie  inversion  of  the  pi-rfecl  llfth  lie  nsed  in  two-part  writing;;? 

AVIiat  are  the  intervals  so  far  ".'iven  calhd? 

W  hat  kind  of  consoiianee>  are  the  perfect  liftii,  octavo,  and  unison? 

Which  are  the  imperfect  consonances? 

Why  are  liiey  so  called? 

A\'hy  are  the  perfect  so  called? 

\Vliat  is  a  dissonance? 

What  is  tlii.s  motion  of  a  di.s.sonance  called? 


;i. 
10. 

n. 
\-2. 

1.!. 


r- 1] 


1     3 

^' 

- 1 

0^ 

;::r 

% 

W 

'(']icat( 

.Uy. 

D 


n 


isi'  of  the  ootavi? 
■II  ill  suct'c'ssiou  f 

lol)  inolion? 
rt  wriUnji? 

And  unison? 


AlG.\fi:\Tl:l)   FOCKIII  AM>   IIS  iMI-KSlOX 


«s 


CHAPTER  VI 

ArC;MKNTKI)  FOrUTII    AND   ITS   INVKUSlON 

MrSK^  would  sduml  vrry  tame  and  uiiiiitfirstiiiL,'  ii'  it  wfiv  mad.'  up 
s..lily  (.f  consoiiaiic-s.     T(.  ivliovc  this  insvi'litv  dissciiaiin-s  iiiusl 
l,r    used,    l.iit   always    in   confoiinity    with    llu-    luK"    tiiat    iv-iuims    thrir 

rt'solulioii. 

After  the  (•(.nsonaiioos,  the  intervals  that  rank  next  in  aj,'roeal.leness 
are  the  aii-jnieiited  fourth  and  its  inversion,  the  diininished  liftli;  as  there 
is  only  (.ne  of  eaeh  in  the  seale  their  use  is  .Msily  learned.  'I'lu'  eharaetei- 
istie  c.f  an  au^'iiiented  dissonance  is  that  the  sounds  sei-ni  impelled  to  tly 
away  from    each   other,  while    those  of  a  diminished    dissonance  want  to 

approach  each  other. 

1  2 

^--^  Y'C^'  1 

'^--     I;  - 1 I 

No.  1  is  the  au<?niented  fourth  V  W\  it  nm^l  he  followed  l.y  the  sixth, 
EC.  No.  -  is  its  invei-sion,  the  diminished  liftli;  this  also  is  followe<l 
IoTk  r.  hy  the  approach  of  tho  soumls  \\  V.  The  example  that  follows 
shows  what  intervals  nuiy  preoode  an  augmented  fourth  and  diminished 
lifth. 

7  8  9  10  11  12 


^>m  I  >ii,>o;>iii«i«iiJi«,R«^iiw  rf'i'ig^^lL-- 


I 


■  h 
'I 

r 


26 


7///-;  /-././iwr/cA-js  or  vocai.  iiarmow 


13 


14 


IS 


16 


17 


18 


19 

I 


ao 


33 


«v        »u        31        32        33        24 

6      ^  •      :'^'      ^'      ""•  '  —M^  --^  I 


33 

J.J   -^ 


I 


98 


26 


I   I 


27 


28 


29 


30 


31 


'•tT    ^^  ,- 1  -  ,_  .  I  p  f-  ^  '  j  f-  -  '  t-  F  t-  '  p  t^  ^  I  [   F-  t-  * 

Niis.  1  tn  :'.  sliK.v  wliiit  tliinls  iiiiiy  inccfdc  llio  aiiu'iiii'iitfd  ruiirlli. 

Ni»s.  \  to  S  slidw  wliiit  tililis  iiiiiy  pivrcdf  llic  an,<,'iii('iiU'(l  Inuitli. 

Nns.  It  Id  |;',  sIkiw  \vli;it  sisilis  limy  prcccdf  tlic  iiii^niiciilcd  fmiitli. 

Ni>s.  1  I  III  Is  sIkiw  uliiit  (ictavfs  may  ihvcciIc  tlic  aiii,nMfiitcd  I'oiiitli. 

Nns.  l!i  tn  '11  sIk.w  wliat  t.'iillis  may  |itvct'dc  tlic  aii^'inciitcd  I'niirtli. 

Olisci'Vf  particiilaily  tlial  (lie  lower  iiu'iiilicr  is  iicvcr  ap|ir(iaclii'd  by  a 
leap  Iriiiii  alins'f. 

I  line  arc  iint  jicaiiy  so  inaiiy  ways  of  approacldiiLj  llic  diiniiiislifd 
lillli;  owiim'  '">  lln'  I'llc  lliat  two  lil'tlis  may  not  lie  writU'ii  in  .sucrrssiitii, 
110  lU'lli  may  pivccdc  it  in  two-part  wrilint,'. 

Nos.  -IW  to  -js  show  what  thirds  may  precede  tlic  dimii   ''"'d  (iftli. 

Nos.  -J'.t  and  ;l(l  show  what  sixths  may  ]iivcod('  the  dii  linishcd  lit'th. 

No.  -".l   -    the  oidy  octave  tlial  may  picceih'  it. 

(Hiscivc  tiiat  the  upper  nieiiiher  is  never  aiipniiielicd  hy  ii  V\\\s  from 
ahove. 

We  Iiave  now  eolleeted  e!iou,i,di  material  fn  eiiaMe  us  to  Avrite  voiy 
I'il'eetively  in  two  parts.      I'.ut  a  few  additional  rules  are  necessary  yet. 

If  the  melody  lK'.t(ins  on  tlio  keynote  (situated  low),  beffin  with  the 
unison.  Ff  it  heoiiis  on  the  third  of  the  scale,  the  second  voice  must  liave 
the  keynote;  if  it  lieL,qns  on  the  lit'th,  the  second  voice  nui.st  have  the  third; 


18 


-h'-^,-] 
^•'i     i-^-' 


24 


.L^ 


-su  :^  I 


^t  I  f    ]^- 1-  } 

tfd  ruiirlli. 

[■(1  riiiM'tii. 

Iitctl  fi.-.iittl. 
iiciittd  I'liiiitli. 
ciltcd  I'niil'dl. 
ilplirdiiclll'tl    I13   !l 

j;  tlic  (liiniiiislifd 
.vu  ill  siu  rcssidii, 

■'■'•"(1  (iftli. 
iiislifd  lit'lli. 

Ity  11  Ifiip   from 

IS  to  Aviitc    voiy 
'(H'ssiirv  yet. 
,   iM'ffiii  with  the 
vi>i('(>  must  liiivc 
st  have  tlie  third; 


AirG.\fi:xT!:p  fouktu  .ix/>  its  L\Thh\stox 


27 


if  itlH.K'ins.m  tl...  ..rluv.'  of  th.'  k.'.ym.t.',  th."  s.r.m.l  vn,...  may  hiivo  th.- 
koym.tr,  ..r  the  third.  As  a  iiudo.ly  -nu  ndly  rnds  m,  tl,-  ^yuAv  ur 
its  ootuvr.  the  ser.nid  voire  m;i\  end  uith  it,  in  uniM.,,  .m  llir  K-'Mmf; 
:n,d  if  the  melndv  ends  oil  the  oetave  ui  the  keyiml..,  th.  seenM,!  vmrr  nuy 
cud  on  tiie  third!  or  the  keynote,  or  in  nnis..n  with  the  hrst  v.M.e  W  hm 
nmeh-dv  end  on  tlie  tiiinl,  th.'  sr.nnd  v..i.v  must  .'ud  mi  tiir  k.Niini... 
It  rarely  happens  that  a  imdudy  ends  on  the  lillh,  hut  ui.n  it  .h.'s,  the 
seooiiU  voiec  must  end  on  the  tliird. 

KXAMl'LKS   OF   VAlllOl  S   ItKdlNMNCS  AND   I:N'I)IN(;S 

1  '  ^     N         I      '       *i       ,      ..       A       ,      J 

*•  i  f{     f    I      t      I       1      u   ^   I     '      I      '     r     ;       1      I 
0  7  8  9  10  11 

Nos.  1,  -2,  3,  4,  and  T)  are  the  various  he^nnninss,  and  Nos.  •'•,  T,  X,  !', 
10,  11,  the  various  endin},'s  mentioned  ahovi'. 

Tho  nudodies  that  folh.w  are  for  th.>  stiwh'Ut  to  put  a  second  part 
beneath,  ftccordinj,' to  the  directions  ,1,'i veil. 

Hefore  doiiif,'  tliis,  examine  and  analyse  the  exorcises  on  pp.  7S,  70,  iuid 
SO  in  tlie  I'irst  Header  of  the  "Normal  Music  Course,""  uunilMivd  It'.t)  to  ITS. 

Ohscrvo  how  they  Itegin,  how  they  end,  what  intervals  arc  used  in  them, 
and  whether  they  are  major  or  minor,  etc. 

Ex.1 

Use  the  (nujmcntfd  fourth  nt  fvpry  nppnrtuniti/. 


at  rrfiry  nppnrrunin/. 


:S^iig!iMta^_£;  I  ^1  ^1 1  •  D 


ir 


r«J<t  ■■»!«*■*.<>  ')*«  gWf'i 


I    S       'I 


28 


THE   KI.EMF.XrS  OF    VOC.U.   JfARAfO.W 


Ex.  2 


i-j^i-^^mJri^^uumwii^Ei 


Ex.  3 


%^ii^mmwm  iii^:^!?^^^] 


Ex.4 


:^_.^f::^:-:-|r -• 


^$iniw  r  -  .  -[^f  ] 


^-^ 


#    iJ: 


D 


Ex.  5 


•.iillMl^^^ 


*j 


,  tf"^ 


mMLltlElTlIItETi:^:!] 


^_|:.- 4i:J.^iJ^_|:zi.tz, 


U.5 


REVIEW 

1.  "Wliicli  (llssotiant  inforvnls  rank  next  in  njirocalilencss  to  tlio  ooiLsonant 
infoi'Viil.*^? 

2.  A\  liiit   is  (!io  iiiotv)ii   of    llio   sounds  coniposiiig  jiu  migmcntocl  inlLTvai? 
^\ll;lt.  of  the  sounds  <M)ni|iMsinii'  ;i  diniiuislicd  inlorval? 

;i.    May   tiio   diiuiiiisiu'd   llflh    Ik-    proct'dvd    liy  a  porft'ct   liflii    in  two-part 
writiii;,'? 

1.    In   what    way  may   tlio  lower  lueinher  of  an  augmented  fourtii  not    be 
aiiproacliecl? 


'o.yy 


EEI.IMJ 


ETI-ll 


less  to  tlio  ooiisonaiit 

nugiiioiitoil  iiilLTval? 

I'C't   Ciflli    ill  two-part 

iL'iiti'd  foiirtli  not    lie 


AUCMi:.\r/:n  lorRiii  .i.v/>  ns  j.\n:Rsio.\  29 


5.    In    what    Nvny    i.k.v   tl.o    ni-l-*  r   i.i-.mIht   of    a    aiiMinislu.l    liltl.    not    l.' 

''"'T  How  luu.t   tlK"  voirvs   lu.^i.i  wlu'i.  llu.  uu.ln.ly  1..  i:i.s  nn  tl.e  kryn-te  situ- 

'"''  7'."\f  Uie  nu'l.-dy  lu^-ins  on  (he  tliinl  cK-ree,  Nvl.e.v  must   \W  seeoiul  voiee 

"'""s'     If  it  lu-ius  on  tlio  li-'lh.  ^vlu■lv  nm>t  the  sreoiul  vniee  lu-in? 

■.,'     If  tl„.  niJ.Hly  h.-ips  nn  the  Ueyimtc.  >itu:iU'<l   hi-h.  wluTe  nii.y  tiie  seCoiul 

""""lo'"  Where  nn.sf  the  srennd  voiee  end  wiu'..  tli.  ....Indy  ...ds  on  tl.e  key.i..tc 
sit.eilrd    h.w?      Wh.n.    wh.n   it    ends    on   the    i<eynoi..    situated    hiui..'     >N  here, 
when  it  en.ls  on  thr  thinlV     Wlu'iv,  Nvlien  it  ends  on  tiie  litlh.' 
11.    Wiiieii  of  these  endings  of  ti  melody  is  least  often  used  r 


^t 


CllAPTEK   VII 

PASSING    TONES 

IT  often  liiiiiiuMis  that  (.11. •  voire  moves  while  (lie  other  is  stutioiiarv.  If 
this  iiiovdiieiii  is  l,v  h'aps,  it  must  he  fn.in  one  eonsonant  to  anotlier, 
or  to  an  aULrmentrd  fnuith  or  diminished  lifth;  hut  if  it  is  hy  (h'.i,'rees,' 
even-  altrrnale  n.ite  may  he  a  (Ussonaiit,  that  is,  a  second,  perfect  fourth 
(which  has  to  l)e  (lasse.l  as  a  dissonance  in  two  parts),  seventii,  or  ninth, 
/.  ('.,  the  srcond  j'his  an  octave. 

Dissonances  tliat  occur  in  this  way  aic  called  l'<issin<i  T,„ies.  There 
arc  several  ways  in  wliich  they  may  enter.  The  tirst  way  is  as  the  mi(hlle 
note  of  three  asceiidin^Lj  or  descendinLT  notes. 


~) 


tj 


7 

I-   !- 


»  9 10  11 


12 


f>- 


+ 
16 


z 


17 


\l 


1 


18 


-4-^ 


19 


d-  '-■=^ 


ii^im 


I  I 


20 


^ 


•y 


i  statidiiiuv.  If 
Hint  t(i  aiKitlicr, 
is  liy  (li'ijfrci's, 
,  pcrft'ct  foiiiUi 
^I'litli,  or  ninth, 

TlWS.        TIuMV 

s  as  the  middle 


l^tl^l 


-<i- 


r. 


-tT^-J 


^Sf 


r  I 


/',/.s;s7.\c;  iv.x/-:s 


NoXl^i^ second  in  upper  part,  nu>y  only  occur  in  tl>is  way;  that 

is,  with  imisun  before  it. 

Nos.  2  and  3,  passing'  fourth  in  upi.er  voice. 

Nos.  4  and  ;',,  passing'  seventh  in  upper  voice. 

K.I   (5    nassiii"  ninth  in  uiipt'r  voii'c. 

N,,;  VlLsi,;.  .-.o„„l  in  low..,-  v>,U,.,  liU-  N".  1;  .m,»t  1.  l.,-..,-,.!.,, 

by  unison. 

Nos.  S  and  \\  passin;,'  fourth  in  lower  voice. 

Nos.  10  and  11.  passing  seventh  in  lower  voice. 

No.  1-,  passing  ninth  in  lower  voice. 

I        V,      1   t„  !•>    ■<lii.iil.l  !"■  wiittcii  on  I'v.TV  .l.'gr,r  of  the 
scale,  a.ul  i.layed  or  sun-,  a.u!  tluir  clT-cl  oI.m.vcI. 

No   l:?,  passing  second  in  upper  voice  followed  by  augmented  fourth; 

-r^iri:i£:::::rrirr^ 
^''^zf;^t:i^i:-;;^:r;::;rr.i;;:^         --- 

sounds  very  well  on  account  of  the  two  fourths  ui  sueeessu.n,   but    No.  lb 

"  'n!^  it"  i!'llM-sing  seventh  follow.!  by  augm..nt..d  fourth. 
No    -jo/passing  ninth  followed  by  augmente.l  fourth. 
A     t^u-s    e.u.4.1es,  from  N.>.  13  to  No.  20,  n.ay  take  ph..e  only  on  ih. 
1  f   tb.>  srle   eiven.     Thev  should  be  writU-n  ui  .l.tbMvnt  scab's. 

Sn:'  ';;v:S.t';::;  in  whi..h  tl.  .nmiuished  nmi  ,..  iuve.ion 
of  the  augmented  fourth)  may  be  taken  after  a  passing  tone. 


— !- 1 H- 


1        I      4 


J 


r-^t- 

+ 


I 


^o 


I  °„ 


t 

r 

I 


3* 


T//E  ELEMENTS  OF   VOCAL   llAKMONY 


No.  1,  after  passing  st'coiul  in  lower  voice. 
No.  2,  after  passing  second  in  ujjper  voice. 

Nos.  W  mid  4,  after  passijig  fourlli  in  lower  voice;  No.  4  is  not  very 
Iileusant. 

No.s.  .O  and  G,  after  pa.ssing  fourth  in  upper  voice;  N(..  G  i.s  not  very 
pleasant.  ^ 

No.  7,  after  passing  s(.ventli  in  lower  voice. 

No.  8,  after  passing  .seventh  in  nj.per  voice.  These  progressions,  lilie 
those  t..  tlie  angnientcd  fourth,  are  j.ossil.le  ^nly  on  the  degrees  of  the  scale 
here  given,  in  i:xeni.s..s  1,  i',  \\  I,  „,ake  passing  tones  of  the  notes 
marked  +;  in  the  rest  of  the  exercises,  look  for  similar  pas.sages,  and 
make  passing  tones  in  them. 

Ex.  1 


tJ- 


i'-f  i0i\^hm^^^Msmm^ 


Ex.  2 


l|i  t  y  I -klikil  ^:iJ  tlllfilimillfl  II 


Ex.  3 


^        H     .^        + 


^^it>: '  i-:G]|i££L£iiijdi£!:iitijiSD 


Ex.  4 

5.1 


%  IJJT^  Ll^^ 


>-^# 


-MZ^f^ 


i^ai 


H.f,in'  Nvrilin-  tli."  .s.-r,,,,,]  voice  t,'o  over  the  excrci.si's  carofully,  marking  the  notes 
ihat  may  he  tir.atnl  a.-s  iias>iii';  tuinw. 

Ex.  5 


^:tE 


ii^l£tM£EJXm^ 


.3m. 


m 


I.ztH 


).   4  is  not  very 
>•  G  is  nut  very 


niirrcsslons,  like 
[I't't's  of  the  scale 
OS  of  llie  notes 
r  passajfes,  and 


narking  tlie  notes 


iS.._ 


t= ~ 


r^  - 


f^ 


-t. 


0 


j\iss/.\i.;  ji>.\7-:s 


33 


Ex.  6 


[( 


a   0 


^^^^rnTTirixis^  ^ 


m 


-K—r 


-W-~,rw 


• 


\~ 


u 


Ex.  7 


-<&- 


.p— p 


■^-m-ii 


^' 


- 1-  - 


Q 


Ex.  8 


•  "-'r-    1 1" 


.  #  e    ' 


Rewrite    the    following,'    exanii-lcs,    iiitn.diuiii.t,'    iia.ssiu.u    tones    where 
possible,  iirst  in  tlie  ui)per,  then  in  the  lower  voice,     rroceed  us  follows:  — 


4    ^ 
3.4^:- 


3=F^-=3^ 


IT 


— ^ 


d-=J..-,--r-,J=^: 


'5! IT 


0 


In  ineasnre  1  a  passing,'  tone  may  he  introdnoed  between  C  and  A ;  also 
ill  measure  2,  k-tween  15  and  G;  measure  3,  betwecJi  0  and  K;  measure 
4,  between  D  and  15.     Thus:  — 


m:^m§\MMt{^r'^r\^-^P^^-^ 


fj  ■fS'- 


r 


<>-   I 


rjr 


V    ( 


i 


-^ir 


34 


THE   i:  I.EM  EMS  OF   lOCAE   HARMOXY 


In  thf  lower  voice-  ii  passing'  tmir  iiiay  occiir  lictwccii  F,  the  ciitl  of  tli  Ist 
iiii-iusuie,  iiiitl  I)  ill  tin-  I'll  iiuasiiiv;  Iiclwccii  E  and  ('  in  llic  Hd  nicasiiiv; 
k'lwirn  (J,  iIk-  end  of  tin-  -nl  uuasurc,  and  K  in  iho  4tli  nn-asiiu'.     Tlni-- 


Le.4        _i^     .  I 


-o 


-d:- 


Or  tho  passinj,'  tones  may  Ik-  divided  l»et\veen  the  voices,  thus:  — 

I  '  i  ''II 


D 


i::i-d 


r^D 


J 


ri    ,:! 


J    J      '     I  I        I 

I  "      "h  hi-"  -" 


^— - 


'      ''■' 


r 
I    I 
*  I  '^ 


1  ' 


i^fcci] 


it:'tit\i 


-0        (5' 


I  I 


REVIEW 

1.  If  Olio  voice  is  stationary  wliilo  tlio  otlior  moves  by  a  lea]),  what  kind  of 
intervals  must  be  taken  Ity  the  voice  tliat  leaps? 

2.  If  one  is  stationary  and  tiie  other  moves  by  decrees,  what  kind  of  intervsd 
niry  every  alternate  one  be? 

;>.  AVliat  are  dissonances  tliat  arc  used  in  tliis  way  called? 

•1.  What  is  the  first  way  in  which  passing'  tones  may  be  nseil? 

r>.  \Vhat  pi'rfect  consonance  has  to  be  classcil  anions  the  dissonances? 

0.  What  dissonant  intervals  mav  be  used  as  if  consonant? 


tlfllltl  of  tl)  Ist 
lu'  ;5(1  iiH'iisuiv ; 
sure.     'I'lius:  — 


— F— » —  e,    - 


118: 


-^- 


H- 


H 


D 


pIStlJ 


I     I 


I     I     I 


^^^[^ 


rr. 


H 


!i]),  wliiil  kiiiil  of 
kind  of  iiiUrval 

suiiancos? 


SECOyV    yAKIETV  OF  J'ASS/ACr    TOAfS 


35 


CHAPTER  VIII 

SIXONU   VMilKTY   OK  TASSlNtl  TONKS 

THE  lu'xt  way  in  whirli  aiss<.nances  may  bo  used  as  passing  tones  is 
•IS  follows r  When  three  notes  oeeur  in  snecession,  the  Inst  and  third 
of  whiei.  are  on  the  sun.e  degree,  and  the  middle  one  on  the  degree  above 
or  below,  this  middle  note  may  be  a  dissonanee. 


2  +, 

-1  4 


3     + 

-1  4 


No.  1.    The  fourth  as  a  passing  tone  above  the  repeated   note,  upper 

voiee. 

No.  2.    Tlie  seventh  as  a  passing  tone  above  the  repeated  note,  upper 

voiee. 

No.  3.    The  ninth  us  a  passing   tone  above  the  repeated   note,  upper 

voice. 

Tiiese  may  occur  on  every  degree  of  the  scale. 

No.  1.    The  seiond  as  passing  tone,  lower  voice. 

No.  o.    The  fourth  as  passing  tone,  lower  voice;  not  very  satisfactorj-. 

No.  0.    Tlie  seventh  as  passing  tone,  lower  voice. 

No.  7  is  No.  4  removed  an  octave.      These  may  also  occur  on  every 

degree  of  the  scale. 

When  this  kind  of  passing  tone  is  used  below  the  repeated  note,  it 
must  1)C  a  half  step  U-low  it,  except  when  it  oceui-s  in  the  ui)per  voice 
preceded  by  a  major  third,  or  in  the  lower  voice  preceded  by  a  minor  sixth; 
in  these  two  cases  it  is  a  matter  of  choice. 

2 


^  2  ^ 


im.w<j<^»wnyw»*« 


■I    • 


rr 


} 


■a 


[1 


I 


36 


THE  ELEMEMS  OE   VOCAI.   IIARMO.W 


Nos.  1,  •_',  iiiid  :{.  Tlif  piissiiii,'  Sfcdiitl  ill  tlio  U|itK'r  voice,  |ncc»'(l(  .1  liy 
the  iiiiijnr  lliinls  (if  ilic  scale;  in  each  case  llie  jiassiiit,'  tone  i.s  lirst  a  uliule 
step,  then  a  liall'  stc|>,  Ik'Ikw  the  re|iealeil  imle.  |5y  inverting,'  these  exaiii- 
jiK'S  we  ^a't  tiie  jiassiiiL,'  seventh  in  tiie  hiwer  voice  picceth'd  liy  tlie  iniiinr 
sixtli;  lirst  a  vvhoK-,  then  a  hall"  steji  hi'low  tlie  reiiealetl  note. 

1  2  3 


I     I 


Jii  tht'  next  exaiiiph's  tliis  passiiiLf  tone  is  ijiven.  iireceded  hy  tlie  (illier 
consonant  inli'ivals,  in  the  iiji|iep  voice;  liy  invcrtiiiii'  them,  all  the  reiiiain- 
iiig  ways  in  which  it  may  occnr  in  the  lower  voice  will  lie  I'oiiikI. 

Ntis.  1,  2,  :>.  -I,  Iireceded  hy  minor  thirds.  Oliserve  that  in  two  eases  the 
passing'  tone  must  he  raised.  No.  '>  may  not  he  inverted,  as  it  would  pro- 
dnee  a  perfect  fourth.  Nos.  ">,  (!,  and  7  may  iicciir  on  any  dcLjree  of  the 
scale.  It  will  he  found  n.'cessary  to  raise  the  passiiij,'  tone,  except  when  the 
repeated  note  is  the  fourth  or  lirst  (<ir  eighth)  decree  of  the  scale,  there 
lieiiii,'  hut  a  half  step  lietweeii  '■)  \  and  7  !^.      No.  7  does  not  sound  well  on 

t!ie  leadiiiLf  tone;  it  has  already   hi'cn  said  (|).    :i<l)  that    the  Ii'ading  tone 
must  not  he  douhh'd. 

'I'he  examples  that  follow  show  how  the  aULTnieiitcil  fourth  ami  its  in- 
version, the  diminished  fifth,  may  he  used  in  conjunction  with  this  second 
kind  of  passint,'  note. 


r 


i^ — I  I , — — 1  ,  -     -in^    --11 


^^     f=-T-JF-^ 


-h- 


-•I      ^  I    '^      r :n 

il  g  ^'  I  r:  II 


let',    IllTl'CtU    1    1l\ 

.1  is  lii'st  ;i  win  lie 
iiii,'  llu'Sf  txiiiii- 
I'll  liy  till'  iiiimu' 
li'. 


c 


U 


Icil  ]>y  tlic  (itlicr 
,  :ill  the  I'ciiiiiiii- 

iiIIIkI. 

ill  two  rases  the 
;is  il  wiiiilil  |ii(i- 

\\  ilv'^WV    (if    tilt' 

(•xc'C|it  ulieii  tlif 

tlif  scale,  tlait' 

t  siimikI  ^\^•\\   oil 

he  liMiliiig  tniie 

iirlli  and   its  iii- 
vitli  this  secniitl 


IdD 


!       1 


?I1 


SF.COXD    VAKlirir  OF  PASS/Xa   TOXKS 


37 


N...  1,  i)asHiii,u  second  in  ui.iht  voie(^  below  the  repeated  Jiote,  followed 
hv  aiiL,Miiented  fourth.     No.   I  is  tiie  inversion  of  tliis.  ^   _ 

'    No.  t>,  passin-,'  second  in  lower  voice,  helow  n'i.eated  note.     No.  •)  is 

the  inver»;ion  of  this. 

N„.  :;  looks  like  a  eoini.leto  oontradietion  of  onr  rule  that  the  niKldle 
note  must  he  the  .lissonanee,  it  heiiiK  in  this  ease  a  consonance,  while  the 
.vpcat.'d  interval  is  dissonant.  A  full  exi.lanath.n  of  this  contnuliel.on 
will  apiK-ar  in  <lue  time.     No.  t5  is  the  inversion  of  No.  3. 

i;,.w.ito  tlios,.,  i,>tro,hich.g  this  second  kiiul  of  pas.sh.g  tone,  riucos  wluTc  tl.oy  may 
occur  arc  tnaikcd  in  Ks.  I. 

Tassinf,'  tones  cannot  occur  in  l)oth  voices  at  llie  same  time. 


2 


-^-a-^--:l-rt=^- 


r    i    I     I 


i^s-jm^ii 


U-c  l.oth  kiiitls  of  iiassini;  tones  in  tlm  following:  — 


i^rr  fiitflai^^pfippi 


B 


^  s 

— p- 


-W~ 


:r=a^:^s\ 


PWEff¥ 


-=|- 
-g)- 


D 


r  r  I  \ 


J 


it 


i 

'M 


38 


rj/E  /■:u:a//:xts  of  iocal  tiAKMoxv 


The  tliinl  way  in  wliicli  a  dissoimnt  piissiiig  toiu-  may  filter  is  as  follows: 
unv  (Icgn-i!  jihovc  ono  of  tlu'  iui'IiiIh-i's  of  a  coiisoDaiit  interval,  tiien  fall  a 
third  to  the  next  consonant  interval.  This  may  Ik»  done  on  any  degree  of 
the  scale,  as  may  k'  learned  from  the  followiiij,' example.  After  stndving 
this,  write'  the  exenLses  that  follow,  in  which  the  two  varieties  jnst  given 
arc  introdneed. 


J--'i^iJ_.._ilj.j._,i.J_ 


•f 


,  -i 


.5,  fit 

I    I 

+ 


^Trrrrifyr^fiiLfi^i 


^.> 


In  Ex.  1  and  2  the  passing  tones  are  marked. 


^1    • 


--P 


:,r.:rg. 


tw^^^=m=.^ 


-=l- 


I 


■:-n 


-^^ 


HO 


F~ 


4:-l-ti^ 


£lM^£]£?^  P^£^^ 


r:^ 


iJiiiteJriz^lije 


^fe! 


^i;ii 


(? 


1. 


jj 


r 


D 


-& 


cr  is  as  follows: 
i-viil,  tiion  fall  a 
n  any  dcj^n-e  of 
Aftrr  studying 
olios  jnst  given 


I     J    1 


EB 


%. 


tm 


-=t 


'-33 


=f.:r^ 


Etp 


^gH 


SECOSn    VAKIETV  OF  PA  SSI  SO    TOSKS 


39 


3 


t7 


UK 


•J.J- 


•  r,m    * 


•u  • 


,_• 


rf  9  •  f.  \. 


N       • 


fN  '      L    r   r     r    .-    '    |  •  5»   '   ;.      •   i  m^w-     ii^^»  '     

Tlu.  fourth  an.l  last  way  in  whi.^h  aissouai.t   passing  l.m.s  nmy  ontor  is 
1,V  a  loap  fn.u,  ......  ummmIht  of  u  ......sonant  i,.lo.val  t..  tl...  .l.g.y."  al...vo  ...■ 
l:l..v  aLn.!..- of  tl...  ....t  ......so..a..t  i..t..,val.      ^V  7.  tl.  n..to    a   on  hy 

this  h.ai.  is  iK.h.u-  tl..-  .....'  uhi.h  toll..us  ..,  .t  nn.sl  ho  a  hall  stop  k-h.w, 

oxoout  in  ...I.'  iiistain'o.  , 

Who.,  tl...  loap  is  n.a.l..  ..pwar.ls.  it  is  n.o.o  ..l.o.i  t..  tho  noto  ah.no  than 
l..lou-  tho  foll..wi..g  o..ns..i.a...r.  Wh.'..  tho  l.-ap  is  n.a.h.  .h.wnwa.cls,  .1  is 
ahn..st  invaiiahly  to  tho  n..ti>  hoh>sv  tho  IV.lh.wing  consoi.anoo. 

No.   1,  fourth  kind  of  passing  n..t.^  talc.'n  1  y  leap  upwards  to  degree 

aliovo,  uj.j.or  voio...  .  , 

N...  2,  hy  loap  (h.wnwards  t.>  half  stop  holow,  uppor  voice. 


r 
I 


71 


f-wmm 


f 


u 


40 


/•///:•  i:i./:.\fj:.\T.':  or  i\h:u.  //.ia'A/om- 


\i).    •">,    Ii\    Irii|i  ll|i\Vill(I.s   Id  lllllf  sti'Ii  liclnw,    lllipcr  Vnicc. 

Niis,   I,  ."),  li,  same  in  lower  vnicc. 

'I'lic  i'X;uii|ili'  tliiit  I'dUuws  is  ilic  t'XC('i.tiniiiil  oiu-  iilliidi'il  to  iilutvc.  M 
iiiiiy  ipiiiy  (Hiiir  mi  llic  liflli  ilv^wi'  ol'  liu-  .sciik',  uiiil  is  fuUowid  hy  Uic 
iiu^Mnciitcil  rmiilli.  Nil.   1. 

Nu.  'J  is  (lie  saiiu'  iiiNcrtcd. 


Kxi'Vciscs  ill  wliicli  all  tlic  vaiiitie.s  of  lassiny  {u\>vs  -.nv.  iiscil. 


|h|  Mf^-i7:^isSi*"dzrLB"5- 1 


f|'":fi5^^aii^T:3Tl^r£i^:i:r^ 


+  + 


+  + 


^:^  ^•^/jL.f  I '  gj  ^^r^-isJ  "f^  U  f-  [M^  ;i-  * 


.  1"  -, 


_^^ +  +  +  -4-       ^ 


■.-■  I 


sSS^^E^ISIiJ] 


;-■  ■ 


EMBHBBaBSi 


1    In   llliovc.       It 
uUowiil   \ty  till! 


-  -1 N  — 1 

+    ^ 

II 

:f7  J*  f  f  * 

r— H 

B 

L^l£L 


SECOM)    I-AKIKTV  OF  /'.ISS/XO   TOXJiS 


4« 


4 


+        +        ♦   •♦• 


•-i_' vljj?,.  .  .  , 


± i 


+  +  +  +  ^ 


Find  the  paswing  tones  in  the  followinj;  Lxaini'les. 


0    »    • 


+  ^     •, 


•       0 


W'^^^^\^}::^^^  n 


:9.i 


til.' 


=•? 


Ji^ 


nF^i:r?lli^'iail^i 


Ei 


:;5 •'  f.   0-  If  i 


loMIj^^IIXoSiJI 


E  tr^zL^^-. 


. '  ■•J- r?_.f!  r*  • 


H 


ie 


-rrw-t^ 


.^W~. lI^ 


^  :iL^.^^i!^.i  ^    1^^^' 


t    ^^^-"f'gfl 


F^^^^J^i:^t_J:::fV^'^r^ 


rf' 


1 


% 


42 


77/ A-   ELEMENTS    OF   VOCAL   HARMONY 


REVIEW 

1.    Divscribi'  tlu'  socoinl  way  in  wliicli  a  passitifj;  tone  may  he  introduced. 

:.'.  WIh'M  tliis  Uiiid  ol'  pas.-uiig  tone  is  below  the  lianiioiiized  note,  what  must 
the  intrrviil  be? 

;>.    Is  tiii'ie  any  case  in  wliieli  it  may  lie  a  whole  step  below? 

I.    DeM'iibe  ihi'  third  way  i.\  wliich  passinij;  tones  may  be  inti'oduced. 

i'l.    Di'si'iilif  the  t'ourtli  way  in  which  passiii;j;  tones  may  be  inti'odnced. 

!t  cannot  Ik'  too  often  ii,.-lsted  on.  that  the  illustrations  jriven  should  be 
written  liver  and  t.vcr  auia.n  in  dilTercnt  scales  until  they  are  lirmly  impressed  on 
the  memory.  'I'iiis  constant  repetition  is  more  necessary  in  the  study  of  Music 
than  in  any  other  art  or  science. 


V)' 


be  introduced. 

'A'd  note,  wliat  must 

w? 

introduced. 

?  iiiti'oduced. 

lis  jiiven  sliould  lie 
liruilj'  iuipressed  on 
the  study  of  Music 


CHANGLW;  XOT/:s\    OR  A PrOtja/.l  TCfCAS 


4:> 


CHAPTER    IX 

CIl.VXniNG   NUTHS,    OIJ   AlTOGGLVirKAS 

TIIHRE  is  yot  iUiotlitM-  ww  in  whidi  dissonances  may  lie  used.  Observe 
tliat  the  [lassini^f  tones  treated  in  tlie  last  eliapter  always  oeeur  !ie- 
tween  two  consonant  intervals,  and  on  tin;  nnui'cented  parts  ol'  the  meas- 
ure; but  the  new  kind  of  dissonance,  called  ('hnKjuin  X"ti\  of  which  we 
are  now  to  treat,  occurs  on  the  accen.ts  nf  the  measun-.  It  takes  liic  i.lace 
of  the  consonant  that  follows  it;  that  is,  it  is  sounded  with  the  other  mem- 
ber of  th(!  consonant  interval.  It  must  lie  (.n(>  (h-ree  above  or  lu'low  the 
note  that  foUows  it,  called  its  )rHol„tl,.H;  when  below  this  note  it  nnist  be 
a  half  step.  In  old  nmsic  the  chanj4in<f  m.fe  is  always  written  as  a  small 
note  half  the  value  of  the  note  upon  which  it  resolves;  this  small  note  v  as 
called  an  ,ipiu,;/;i!afitr<i,  an  Italian  word,  meaning'  to  lean  a!4ainst.  It  is 
evident  that  it  is  possible  to  have  a  chan^in--  note  above  or  below  either  one 
of  th.  nieml»^"S  of  a  consonant  interval.     'I'hiis:  — 


+ 
-A 


-d-.-^::rH: 


=--^:=l 


1  -iJrrJ 


"«   « 

i"_^ 


+ 

-Jr. 


+ 
^•-  '   I 

_ti: 1 

I 


5*< 


I    £^i    p 


I       I 


0 

+ 


I 


■t- 
--I 


L]  :  -D 


1 1 


t 


II 


44 


77/ A'   KI.i:MnjXTS  OF    I'OCAI.    JJAKMOX)' 


Nil.  1,  cliiiiij^ini;  iiiptfs  iiliovc  iiiid  Iu'lnw  liotli  iiicmlu'is  of  a  lliinl,  \»  rittcii 
in  tlic  (lid  \vii\-.  Nt>.  li,  the  saiuc  written  in  the  nHxlcin  way.  Nos.  :'.,  4, 
•'),  '■',  liivf  I'vaniplcs  ol'  chanuinij-  mitis  alxivf  ami  hclow,  in  liolli  vnicfs. 


i;.\i:i;('isi:s  on  rii.VNciiNd  n<»ti:s 

In  till'  lirst  lAficiM'.  tilt'  cliant^in:^'  nolfs  :!r('  marked.  Write  nnder  the. 
eliant^int^  note  an\  nuie  that  i  ((Hisonant  with  tlie  t'lillow  ini;'  note.  'I'hiis 
in  lirst  nieasnre,  C.  l..  i>r  A  may  1h'  written  nnder  the  ihan<;iny  note. 


&    P 


+  1         +         ,  I 


J        4-  „ 


'''  S 


rr^  ,,    ^    ^  .T^~  "  .  1.  •  '  •  I  .^    1>\?    \    *  I  2  2^  flt^'jl'^V'^  11 
\§  ^.  ii^  'If    U  f  I  ^^        1 1:^  K  l±_i  J:i  £  "^Lt,  -  ^-  P    L- J] 


+ 


^£^^\tL^}  ^J^MMZJ^El 


*> 


t7 


rr^Sa  rr: 

16  i'^ 


\»-'~9- 


«7 


a  third,  \»  rittcii 
\i\y.  Niis.  ;',,  4, 
l)titli  viiici's. 


Write  imdcr  tlic 
IV'  note.      'Iliiis 


Lflliy  IHltO. 


-y 


+    + 


|] 


f         -r 


nm. 


iMt 


"[ii&ll 


c7/./.\(;aa(;  \ori:s,  oa'  a/'j-ouu/.i rch'.is 


45 


•  .  f^f 


'3lLL:\'-l^iA- '  '\-\\ 


There  is  another  wiiy  in  whieh  dissonanees  niav  he  ns(<l  dil'ferin-;- entirely 
from  the  ways  -iven."  eaUed  Suxi'msinu.  In  suspension,  the  noir  thi^ 
iH-eonies  a  dissonanee  by  susiu^nsion  must  lust  a]ii.ear  as  ,mc  of  the  niendiers 
cf  aeonsonanee.  Thus,  if  N\e  have  two  sn.-.-essive  ihinU  des.endin-,  as 
iu  No.  1,  and  we  tie  the  upper  note  so  that  it  hi-s  lirhuid  thi'  se.ond  voice, 
as  in  No'.  "2.  tii--  result  is  a  suspended  f..urtli:  if  we  tir  the  h>wer  note  so 
that    il    he^s   hehind    the    upper    voiee.   as    in    No.    -u    we    -.t   a  suspended 

seeoiid. 

12  3 

^  nil.  •'!'!.  -''■  ■''' 

The  .second  is  the  only  dissonanee  that  may  he  suspended   in  the  lower 
voice;   it  must  descend  as  in  No.  :?.      This  des.'ciit  is  eaUed  its  resolution. 

The  major  second,  fourth,  seventh,  and  ninth  may  he  suspended  iu  the 
U[)per  voice. 

1  2  3  4.5,,, 


i r 


7 

I 


8 


I         I 


S) 


r 


\ 


'  -1^^^ 


<y 


No.  1.  A  major  second  suspended  in  the  upj.er  voice:  it  must  resolve 
hy  asccinlin:;-:  the  miiioi'  second  may  not  hi'  nscil  this  way. 

No.  -J.  perfect  fouith.  resohcs  hy  descending;. 

No.  3,  iiiii,nuented  fourth,  may  resolve  hy  descendiii;.,^;  hut  in  the  next 
example  another  way  of  treat int,'  it  will  be  found. 


-  ( 


t 


46 


nil:    I.I.F.MEMS   OF   rOC.lL   JLlh'MOXy 


N(i.   1,  iiiiiKir  scvciitli,  ivwolvcs  l»y  (li'sc('ii(Iiiii(. 

N(i.  .").  itiajiii'  scvfiitli,  may  n-solvi'  liy  (k'sct.'iidiiig,  or  by  asct'iidiiig,  as 
in  Nil.  (1. 

No.  7,  iiiiimr  niiitli.  icsolvi's  Ity  (Icscciuliiij^. 

Nil.  s,  iiiajdi'  iiiiiili,  may  ivsolvi'  Ity  di'scL'n(liii<j,  or  by  ascending,  as  in 
N(i.  '.1.  .\'.7..  wlicii  ;•  It 'Snivel  ihnrit,  it  must  not  1m'  itrt'ccdcd  by  S.  We 
:'a\c  a  rule  in  Chai'lt  r  \'l  thai  tlic  two  iiuMiibcrs  of  the  augmented  fourth 
mu>t  miivf  away  I'lnm  cacli  othor.  'I'iiis  movement  may  be  delayed  by 
[iiiiloiigiiig  eilliiT  one  ol  iheni,  tlius:  — 


d-'-vl 


I 


-1 


I 


I    I 


3  ;^^i     1 


1 


No.  1.    Auguieiited  fdurth  witli  movement  of  ujiper  note  beld  liaek. 

N'o.  -.    Angnu'iitcd  fourtli  with  movement  of  h»\ver  note  held  baek. 

No.  •!  ma\  lie  inverted  a><  in  No.  :>,  but  No.  1  may  not  be  inverted,  a.s 
i!  would  be  contrary  to  the  rule  just  given  that  the  sceond  is  the  oidy 
dissonance  tiiat  may  be  tied  in  the  lower  voice. 

Write  nndci'  the  tied  note  any  note  that  is  consonant  with  the  note  upon 
which  the  tie(i  imte  icsolves. 


•  I  •  *  •  •  1*^ 


•Vii^^mmiB^ 


:~-J-|-— •    I    .'-- 


r& 


m 


\k 


'-4  >> 


-=1 


-fz^aczi 


.^->-— 


lS^:^-|2i 


2- 


^ 


l:— • 


-:::tz 


-I r- 


>y  asft'iidiiig,  as 


isccnding,  as  in 

.li'd  l.y  S.      We 

gniL'iitLHl  fourlli 

be  Ueluyed  by 


1'  held  back. 
■  held  back, 
be  inverted,  as 
ond  is  the  only 

Lh  the  note  upon 


-0  \r-i- 


rB- 


m 


-0—0. 


ta 


1 


CJ/A.XC/AG  .\on-:S,   on  APrOC,CL\lVl<AS 


47 


•  •  •• 


REVIEW 


1.    What  is  a  clmn^i..^  note?     In  wlu.t  resiH-cl  decs  it  differ  fn-a  u  i-ussii.g 


tone  ? 


•J.    How  is  tliis  note  written  in  old  uuisie? 
;;.    Wliiit  was  it  called? 


4  What  is  tl.e  last  wav  in  wl.icli  dissonant  notes  may  l>e  used  i       _ 

h  How  must  the  note  that  is  t..  he  suspended  make  .t>  appearance^ 

0  What  dissonance  may  he  suspended  in  the  lower  vuice .' 

7.  What  dissonances  may  l>e  suspen.h'd  in  an  upper  voice.' 

8.  What  kind  of  second?     How  docs  it  ivsolve? 
<»  How  does  the  su>pended  fourth  resolve? 

10  May  the  suspended  fourth  he  either  perfect  or  au-mcnh.d? 

11.  How  does  the  suspended  seventh  resolve  if  minor?     How,  if  major. 

12.  How,  the  suspended  ninth,  if  minor?     How.  if  m.ajnr^ 

13.  How  may  the  movement  of  the  augmented  fourth  and  dnnnushed  lifth  be 

delayed? 

11.    How  many  varieties  are  there  of  i-assnig  tones." 
1,-).    How  many  varieties  of  changing  notes? 

10.  What  is  a  suspensit)!!? 

17,  How  do  all  dissonants  resolve? 

1)S.  Do  all  enter  by  a  movement  of  one  degree.-' 

I'J.  Which  are  the  exceptions?  ,<•„..■  ,i 

2(1.  Arc  there  any  cases  in  which  a  changing  ..r  passn.g  tone  may  he  foliovNul 
by  !i  dissonant  interval?     (live  them. 

'»1  In  what  cases  mav  a  dissonant  as.-,  nd  a  whoh-  st.'i..' 

22'.  Ou  which  beats  or  parts  of  the  i)cat  do  c'.anging  and    i.as>u.g   tones 

occur? 

XoTK  -Tl...  apposj^iatura  an-l  Ih-  Knuv  not.  (:uTia...tnn,)  an.  so  ..n.n  .-onfus..! 
lint  ^^.  au.M.n.l  th.  r..linwi„u'  rxplauatinn  of  ihr  .liff.ivncL.   hnur,.,,  thrn,  :- 

Ti.e  Llace  nolo  (its  lluliau  nan.o  n,..au.  cn.k.l  ..to)  is  uiwav.  uruu.u  m  n.o.l.vn 


fi 


48 


77//;   KLEAfl^NTS  OF   IVCAL   HARMO.XY 


mil.-  ic  lis  an  fi.^'litii  iioti'  willi  a  (lasih  across  tlic  strin.  Tlius,  *^.  It  is  always  ]p|au(l  or 
hiiMj;  ii.s  lapitlly  as  iPo.vsiMf.  Wlicii  I  his  I'tlVct  was  clfsirtMl  liy  tlie  olilcr  cuiiiiiosers,  tlicy 
Nvrutf  llic  aiiiiojrgialiira  as  a  small  iiuli-  ouc-fourtli,  iustuad  of  one-hall',  the  valuo  oi'  the 
Hole,  it  ]iR'L'i.'Jt.(l.     Thus;  — 

*->  i.lavLMl. 

Tlif  use  of  cliani,'!!!}:;  nnti's  arosi' as  folhiws  :  An  old  nilt' of  counterpoint  forbids  the  ns(> 
of  a  <ii,-sonant  on  the  acrcnt  of  the  nirasun-.  Conii'oscrs,  liowcver,  soon  discovered  that 
it  was  very  t'lTeelive,  and  evaded  tin;  rule  liy  writiiij;  it  as  a  .small  note. 

There  is  one  other  ease  in  whieh  its  nsi'  is  very  often  ndsunderstood,  namely,  when  it 
l>ri'efd(s  a  dotti'd  note.  In  this  easi;  it  takes  all  the  value  of  the  note,  leaving  to  it  only 
the  value  of  the  dot.     Thus:  — 


"tr- 


m 


lilayud. 


Modern  composers  and  modern  editions  of  the  cla.ssies  have  almost  totally  dispensed  witli 
this  manner  (jf  writing  the  appoggialura. 


w 


is  nhvays  ]p|;iu'il  (ir 
li'i'  cuiiniosors,  tlicy 
II',  thu  vuiuti  ui  the 


lint  forbids  the  use 
)on  discovered  tiuit 

)d,  naint'Iy,  wlioii  it 
,  leaving  to  it  only 


ally  dispensed  with 


CHORD  COM  BIN  A  TIOXS 


49 


CHAPTER   X 

C'llOHl)   COMHINATIONS 

TIIHUE  still  ronmin  s.muo  tl.in-s  t..  he  Uuinu-.l  iibout  two-part  wiitui,?, 
but  tlu'V  niuv  la'  l..'tt."r  uiulcTstnoa  alter  j,Mi"i"K'  "u.r..  kn.>wlr;lge  .' 
the   atord   Comhinaaom.      To  the  simpler  of  these  eu.nhi.utl.ons  we  will 

now  propoeil.  ,  i       i  ■    i  i  ■  i 

It  to  the  series  of  thirds  on  page  4  we  a.hl  another  sound  a  thud  highei, 

8 


r 

1 


'^- 


I 


1 


I 


0 


Wf  .'ct  a  series  of  chords.  .,    ,     ,       „    ,  pi 

Countin.'  Iron,  the  lowest  note  of  eaeh  ehord,  called  the  /.->^  we  fnid 
that  a  ehord  consists  of  a  root  with  its  third  an.l  lifth.  If  the  i.  th  .s 
perfect,  the  chonl  is  called  p-  rj\rt ;  and  as  we  have  foun.l  (( 'hapter  1)  that 
there  are  six  perfect  iiiths  in  the  scale,  we  n.ust  hav  six  perfect  chords. 
These  chords  have  various  names,  as,  common  chord,  perfect  chord,  per- 
fect triad,  hut  they  all  mean  the  same  thinK- 

The  seventh  chord  is  calh'd  a  diminished  chord,  hecatise  the  fifth  ot  the 
h-adin.-  note  is  diminished ;  it  is  therefore  w,t  a  comm.m  ch..rd.     _ 

Win-n  a  common  chonl  has  a  major  third,  it  is  called  a  major  chord; 
therefore,  there  are  three  major  chords  in  the  scale,  then-  hcit.g  three  n.ajor 
thinls,  namelv,  the  first,  fourth,  an.l  fifth;  and  these  degrees  n  the  scale 
l.cin.^  called  ihe  t<.nic,  s,a,dominant,  and  d..nnnant,  the  .■ix.rds  fotnuled  on 
then? are  called  the  toi.ic,  suhdou.inant,  and  .l.muuant  chords. 

When  the  third  of  a  chord  is  minor  the  .h-.nl  is  calle.l  nunor:  therefore, 
„f  the  six  common  clmrds  in  the  scale,  three  must  be  nun-.r,  namely,  the 

second,  third,  and  sixth.  .,.•■.  ,      ti.« 

The  name  of  a  chord  is  given  from   the  letter  that  is  its  root.      Ihe 

4 


!  ! 


!! 


I 


} 


li 


50 


7///:-  i:i.i:.ui:xi\s  <)/.•  i\}CAi.  j/,i/xMi)xy 


tlircH-  Ii'ttcis  tliat  rmiii  (he  cliind  may  In-  altcivd  liy  J,  >,  .,  !»?,  Imi  tliis  dues 
not  oliiiiii,'*'  llif  iiaiiic.  'I'lifrrl'drc.  as  thru-  aiv  seven  leltcis.  se\eii  t,M'i)ii|is 
make  all  llie  ciidnls  possiMe.  Tlie  exaiaple  lliat  I'dlldws  will  show  in  lii>\v 
luiiny  ways  it  is  iiossihk-  to  wiiie  llit;  cliMid  (i  |i  I). 


8 


10 


Lfe    ^    h:§:    I  ^.:^::  |^%;^  |  ^Z  \  -^  \  si    \  "i  \  ^i    |;'"|i  ] 

1,  (J  major;  l',  (J  minor;  ;5,  (V>  major-  -4,  (P  minor;  5,  (;::  naj.  r;  (», 
(j;  minor;  7,  (1?  iliuiinislieil;  .s,  (J  diminished;  1»,  (i-.  diminished:  10,  (i? 
dimiiushed. 

Observe  that  a  I'hord  is  eiiani,'ed  from  major  (o  minor  bv  altei'luLj  its 
third.  If  the  root  is  raised  or  lowered,  the  fifth  must  lie  also,  or  it  ceases 
to  be  a  jierh'et   lifih. 

A  major  chord  is  chant^^ed  to  diminislied  by  raisini;  its  root. 

A  minor  (■jiord  is  ehan^'ed  to  diminiNhed  bv  hiv.eriiiLf  its  lifth. 

In  tliree-part  writini,''  the  tilth  is  often  onutted  and  the  root  is  doubled, 
or  the  root  may  lie  onutted  and  the  liftli  doul-U'd,  or  the  third  may  be  doubled 
—  I'xeept  when  it  is  the  leadini,' note  —  and  the  root,  or  tifth,  omitteiK  I'.ut 
the  third  nnnit  be  jiresent  in  every  common  cliord. 


c? 


3  4 


^J:=^ 


—  -Ct- 


II 


No.  1.    chord  of  (',  root  doubkMh      Hoot  at  bass. 

No.  '1.    Chord  of  C,  root  and  fifth  douiiled.      Third  at  bass. 

No.  ;>.    Third  at  bass,  and  thii'd  (hmblcd. 

No.   I.    Fifth  at  bass,  and  fifth  doubled. 

The  thi'ee  letters  that  biiii!  a  choid  may  lie  arran^'cd  in  sev':'nl  ways, 
bnt  these  cliam;-cs  in  its  arrani,n'ment  do  not  chu'ine  the  name  of  the  chorch 
The  chord  takes  its  name  from  its  rot.t.  'I'liu.-.  C  \\  (i  is  called  the  chord 
of  C;  to  find  which  lettt'r  is  the  root,  anauye  them  to  read  upwards  — 
one,  three,  live.  Thus  tjic  example  which  foUows  will  1/c  b'und  to  lonsist 
of  the  chord  of  C. 


lit 


!*^  l)iit  tliis  (lues 

I's,  si'vni  i,'r()iiji,s 

ill  sliow  ill  liiiw 


10 

.  .  -irj^v  — 

1-1   \  K,- 


]| 


'),  (is  iMiiji  )•;  r», 

iiiislii-a;   10,   (i? 

r  by  iiltt'i'iiiL;  its 
iilso,  or  ii  I'tascs 

not. 
;  tiflli. 

rodt  is  <l(tu1)lf(], 
1  may  he  (loiililfd 
I,  omitted.     I'ut 


^1    g— ^ 


w 


IKS. 


ill  sf\  ':'ul  ways, 
lie  of  the  cliord. 
;-alI('d  tlic  cluird 
read  ui»\vai'ds  — 
f'Muid  to  I'onsist 


CHORD   COMllLWl  nOSS 


5« 


% 


1 


a 

\ 


■a- 
0 


No.  1,  root  at  buss  (remember  /ms.s  means  Uit)  lowest  of  a  K»"i»l>  soiindin,-,' 
tocrrtber;"  it  would  be  more  eorn-elly  written  base).  'I'bis  ehord  is  sai.l  to 
be"written  in  cU>^''  hanaoivj,  the  tlirco  letters  lie ing  us  close  as  possible  to 

caeb  ollu'r. 

Ko.  -,  the  same  in  eyjc/t  hariiwatj. 

No.  :5  has  the  tliird  of  tiie  ehord  at  the  bass  — elose  harmony. 

No.  4  hns  tlie  third  of  the  ehord  at  the  bass  — oi>en  harmony. 

No.  T)  has  the  tiftli  of  the  ehord  at  the  liass  —  close  harmony. 

No.  C  has  the  tiflii  of  the  chord  at  the  bass  — open  harmony. 

The  pupil  should  write  .uit  in  this  way  all  the  remaining  chords  in  the 
scale  of  C;  not  only  oiiec;  or  twice,  but  over  and  over;  then  change  the 
clK.rds  by  means  of  sharps  or  Hats  and  write  tiiem  again.  Harmony  dilTei-s 
from  all  other  studies  in  tlu"  respect  that  cnrn  rule  must  be  remembi-red 
at  all  times,  from  tlie  simplest  to  the  most  comprehensive;  just  as  the 
author  in  the  midst  of  his  most  inspired  poem  must  remember  how  t.)  sik;11 
his  words  as  well  as  how  to  exiiress  his  idea. 

The  root  is  the  best  mendn-r  to  double;  next,  the  fifth.  The  doubling 
of  the  third  should  lie  avoided  except  when  it  occurs  in  a  way  that  will  be 
iiwlicated  farther  on. 

The  first  rule  to  be  observed  in  thn-e-part  writing  is  one  already  given, 
namely,  that  fifths  and  octaves  must  not  be  written  in  succession,  but 
must  always  standalone;  therefore,  the  following  pa.ssages  are  impossilile. 


5 

>s  - 


8 


^A 


D 


No.  1,  take  away  the  middle  voice,  and  two  fifths  in  succession  In^twoen 
the  ui)i>er  and  third  voices  will  remain. 

No.  2,  take  away  the  lirst  v(,ic.e,  and  fifths  between  the  second  and  third 

voices  remain. 


5* 


THE    1  I.I  MFX IS   or    VOC.M.    IIARMO.W 


f  f 


No.  IJ,  l;il<i'  ;i\Mi\  till'  lliinl  \i>iii'.  ami  lil'tli>  lictwri'ii  tlir  liist  nml  .~(Tn!i(l 

Voices    Iflliaill. 

No.  I,  lalsi-  away  tlif  iiiiddlr  voici",  and  octaves  lietweeii  tlie  lii>t  and 
third   voices   remain. 

No.  o,  taUe  away  llie  lirst  voice,  aiul  octaves  lietwet  n  llie  second  and 
tliiitl  voices  remain. 

.No.  tl,  take  away  tlu'  tliird  voice,  and  octaves  lictwccn  tlu'  lirst  and 
sccomi   voices   remain. 

There  is  one  e\i('|itional  case:  .\  diminished  lil'lh  may  follow  a  jicrfecl 
tilth  in  a  dcseendini,'  |iassai,'e,  No.  7;  or  a  perlecl  tilth  may  I'ollow  a  dimin- 
ished tilth  in  an  ascendinLj  |iassai,'e.  No.  ,s.  These  passaLTes  mnsl  occnr 
jnsl  as  written;  that  is,  the  third  voice  moves  do\\norn[iin  thirds  with 
the  lirst  voice. 

There  is  only  one  way  in  which  two  tdiords  may  Iiewi'itten  in  succession 
in  three  parts,  with  their  roots  at  the  bass,  withonl  omittini,'  or  repeating,' 
one  (»!'  the  niemliers  ol'  one  ol'  llu'in;  namely,  one  must  Ik'  in  open,  the  other 
in  close  h;irmonv,  thus:  — 


[<f^ 


->      <. 


|-|:   4  I 


Any  nnmlter  of  chords  may  lie  written  in  smression  in  close  position 
with  their  thirds  as  l»ass  notes.  'I'lii'  diminished  chord  markeil  -f  sounils 
iicst  wlieii  usetl  with  its  third  as  a  lifi.ss. 


3    ;; 


Kj 


6 


J 


<^  '6 


No  two  eoniiuon  eliords  iiniy  lie  written  in  siu'Cfssion  vith  their  lifths 
as  hass  liott'S.  'I'liis  is  ahonl  ('  '  only  I'ule  in  mnsie  that  has  jio  exception. 
I'lay  or  siiiif  the  folIowinL,'  passai^c;  it  will  he  found  impossilile. 


J 


-<j>- 


f  lilst  mill  .'('cuMtl 

ecu   tlic  iii>l   iiiid 

II    (lie  StM'olid   ;iii(l 

It'll  tlir    I'li'st  and 

y  fiilliiw  a  iii'ifni 
ly  I'lillnw  a  diiiiiii- 
saLjt'S  iiiiist  lu'ciii' 
ii[i  ill  tiiirils  witli 

ttcii  in  siicfcssiiiii 
tiiiLj  or  it'|MMtiiii,' 
in  ttpfn,  tliL'  utiu  r 


in   ('lost'   jidsition 
uaikoil  -f  siiiiiuls 


Nvitli  Ihcir  litllss 
lias  Hi)  t'xcc'plion. 
siljlf. 


C/IOKP   CO.U/l/.V.I//(K\S 


5:> 


TluMV  luv  ^Mvat  ivstii.tinns  ..n  tlu-  nsf  ..I  tl..'  litlli  <'l  a  i  Imid  a>  a  lu>s 
„„,,,.  i,  ,„,,vom1v  !..■  di.nr  in  nm-  i.f  llu-  I'nllnwin-,'  ways:  (h  it  nuisl  1,.. 
„,,,  ,„■„,,„,.  ;„„,  ,.l-  ;,  ,|„v,.  tiiiirs  iviiratrd  ii.-t.'.  and  t!iis  i.  iMalnl  liolr  i.iilst 
|„.  |1„,  ,.,,nl  of  liir  ilii'id  lli.il  is  ImIuIv  and  al'tiT  il. 


.Mil 


Nn.   I.    Tliis  silncssinii  is  l.asrd  n),  ilir  livst,  tliiiil,  tiflli,  iind  sixlU  di- 
^fivfs  I.I'  till'  scah-:  il  smiiids  l.csl  .m  tlirsc  d.'ijivt's. 

No.  -2.  to  sliow  that  till'  Lass  may  lir  a  snstaiiud,  lint  a  rcpratt'd  n(.t<'. 
No.  :'..    Il  d.iH's  nut  si.nnd  so  wi'U  on  llu-  stTuiid  dryrco  of  sculf,  i.iit   it 

niav  Ih'  iisrd. 

"Nc.  :',  is  still   worse,  on  tin'  fouitli  dri^ivr.     Xos.  :i  and  Inuiy  Ik>  m- 
.•uiinli'd  I'or,  t'siM'cially  No.   I.  niidcr  a  dilVi'ivnt  lulr  wlii.li  will  appear  in 

duo  tiiiu', 

(•J)  Tlic  toiiii'  I'liord  may  1..'  used  at   any  tinif  with  its  iitlh  as  a  liass, 

proviih'd  il  is  I'oUowi'd  hy  tin.'  dominant  chord. 


7   I       I 


5th        '     :>tli  ■'•">  ^^I'l  ■'''•' 


r.ti 


n>ii 


Xo.  1,  toiiir,  tit'lli  at  liass  prcct'drd  hy  snlidominaiit,  root  ul  hass. 
No.  -J,  same,  hut  siihdoiuinaiit  has  the  third  at  the  bass. 
No.  ■'').  same,  preceded  hy  siiperloiiic.  root  at  bass. 
No.  4,  same,  siipertoiiic  has  the  third  at  hass. 
No.  '),  same,  preceded  hy  tonic  itself,  ront  at  liass. 
No.  <■>,  same,  precede;'  hy  tonic  itself  with  third  at  hass. 
No.  7,  same,  preceded  hy  suhmcdialit,  root  at  hass. 
Two  complete  chords  may  he  easily  written  in  succession  if  one  has  th. 
root  and  the  other  the  third  at  the  hass.      We  give  a  h-w  examples:  — 


wmmmm 


l<  ' 


I 


"■I 


54 


/■///i    Hr.EMKMS  OF  li>LAL  J/.IA:U0M' 


r 

.'1.1      .'M 


^ 


.•M 


8a 


J 
I 

■M 


|5< 


r  'r 
.1.1 


^  ■ 


In  an  ascciidiii^'  or  a  (ItsciiKlinjf  |iiissiiL,M'  conipust'd  nf  tlio  iiichiImms  of  a 
clutrd,  all  tlin-t'  voicrs  ni(tviii«,'  tu^Ttlicr,  llic  lil'tli  may  ncciir  as  a  Iiass,  jni)- 
vidt'd  it  is  ncilliiTal  \.\w  Itfj^fiimiiij,'  imrat  tla-fiidnl  tin- pa-ssage.     'I'liu.s: 


t'f 


Z 


J 

s 


r 


« 


z 


Wp  liav(>  Mow  ;,nvi'ii  all  the  ways  in  uliidi  nuiiiilctt'  cliords  may  ln( 
used  in  tlirct'-part  \vritiii«,'.  \n  all  tin'  ifmainiiit,''  suctcssioiis  tliat  may  lie 
niadt'.  lint'  mcmlicr  dl'  tlic  tliord  must  1)0  omitted,  and  one  douhlud. 

Tlifsc  cxamiilcs  should  ho  writU'ii  in  vaiious  scales  and  Im'  sung  or 
jilayed  until  tliey  are  (piite  familiar.  Tliey  include  the  most  iinportant 
points  in  three  part  writiiit,'. 

Sneeossions  of  chords  with  roots  at  the  bass  are  I'asy  when  the  root  of 
one  is  donhled,  as  may  lie  seen  in  the  following  examples. 


J — J  I- J 


)-p '  f--- 


(p;).4X-,4M)E$ifE4i 


Ohsorvc  that  the  unpleasant  effect  of  the  two  major  thirds  is  gone  when 
they  occur  lu'tween  the  second  and  third  voices.  Also  when  the  root  of 
one  chord  is  doubled  and  the  other  has  its  third  at  the  bass. 


'SL 


r    r 


—  <y- 


T 


im^\ 


■i O 

?s — ^ 


I 


I'lr 


)■ 


hr  hicihIkms  of  ii 
ir  iis  11  huss,  ]irn- 
siigi'.     Tims:  — 


clmrds  limy  \w 
oiiH  tliiit  may  lie 
Inuldt'd. 

and  In'  siiiij,'  or 
iiKist    iiii[ini'taiit 

lu'ii  tlic  mot  of 


)-lJ] 


r 


■(Is  Is  ffone  when 
,'lien  the  root  of 


i= 


o 


cuonn  coMiu.xA  ri<  k\s 


55 


'I'll.'  /../;/'.. 7  <7"«.',  or  i-'hl,,ir,;  is  in.iilc  thus;  Tlic  lilial  chord  is  tho 
tniii(;  with  the  root  doiililrd;  tlic  rliord  lict'oiv  it,  tiio  (loiiiiiiaiit,  with  the 
root  at  the  hass;  tin-  chord  Ikd'orc  this  is  tiu!  tonic,  with  its  tifth  at 
the  hass.  'I'iicrc  is  only  one  wny  as  yet  in  which  this  cadence  Jiuiy  lie 
made   completely  in  three  parts,     'rims:  — 


l'S> 


■->  i 


I 


^   '    --4- 


? 


T 


n 


No.   1  ^ivcs  coiu[ili'le  leimse. 

No.  :J1  oiilv  partial  ivpose,  hecaiise  the  first  voice  ends  on  the  third  in- 
stead of  the  "root.  Write  all  these  in  every  scale.  Try  to  make  sequences 
out  of  these  successions  (exce|.t,  of  course,  the  cadence).  We  givo  a  few 
examples. 


€7      -o 


3 


-\  ..  d 


9 


^J^ 


r 


fp¥m 


-ft . 


-J 


T  f 


:  \tl\hkM^ 


f-' 


Ohserve  tho  uiipl(>asant  elTcct  of  the  diminished  cliord  here;  it  may 
he  used  in  a  sccpience.  hiit  shonld  nevei'  hcn'in  or  end  it. 

Some  examples  follow  in  which  the  tliird  is  at  tho  hass,  and  the  root,  or 
tifth,  is  douhled. 


o- 


r  I    r 


(5' 


I  I 


f=r^ 


-«>- 


fM 


t 


^ 


\4 


56 


77/ j:  eleme.xts  of  vocal  j/.i aw/ox V 


Wlicii   the  tliinl  of  a  clinid   is  doubU'tl,  the  voices  that  c^')iil)le  it  must 
move  in  o[i[)osit('  directions,  or  one  of  them  must  l)e  stationary. 


[| 


«>■ 


r 


No.  1.  Tlie  second  chord  is  I)  V  A  with  the  tliird  (F)  douhlcd,  fifth 
omitted.  'I'he  third  chord  is  C  1"^  (i  with  the  third  ( K)  doubled,  root 
omilt.'d. 

l-'.xercises  2  and  3  give  examph  s  uf  doubled  thirds  with  one  voice 
stationary. 

A  iH'autifnl  etVect  is  often  prodiiced  by  the  following  moans:  One 
voice  may  have  a  sustained  or  rc[)cati'd  note,  while  t!ic  two  remaining 
voices  are  in  motion.  These  two  voices  are  to  l)e  treated  as  though  the 
sustained  note  wei'c  not  prt'.-' '.ii ;  that  is,  they  nuist  follow  the  rules  for 
two-part  willing.  'I'I'.e  only  proviso  is,  tiiat  the  susuiiiied  note  must  bo  a 
member  of  {he  iirst  and  last  of  the  chords  v.'ritten  with  it.  This  sustained 
note  is  generally  either  'he  tonic  or  the  dominant,  and  it  is  more  frequently 
used  in  the  lowest  than  in  either  the  middu'  or  ujipcr  voice.  The  moving 
voices  have  most  freedom  when  the  sustaini'd  note  is  tiie  dominant  in  the 
lowest  part;  next,  when  it  is  the  tonic  in  tlie  lowest  jiart;  next,  when  it 
IS  the  dominaiii  in  the  highest  i>art;  next,  when  it  is  the  tonic  in  the 
liighest  part.  They  liave  very  little  freedom  when  t!ie  sustained  note  is 
in  the  midiUe  part.  A  limited  use  of  this  sustained  note  is  possible  on 
other  d(>grees  of  the  S(>ale. 

T',e  following  eyamp](>s  will  make  th(>se  successions  clear.  Observe 
that  tlie  moving  v.iiccs  have  thirds  and  sixths  almost  exclusively.  The 
augmented  fourth,  and  its  inversion,  may  be  used  when  the  sustained  note 
is  the  tonic  or  dominant  in  the  lowest  part,  or  the  dominant  in  the  liighest 
Mart.  The  perfect  lifth  maybe  used,  but  only  as  in  Exi-rcises  Nos.  1,  3, 
and  4.     In  every  other  case  the  moving  voices  have  thirds  and  si.xths  only. 


-m-^<^ 


> i 


--I 


I 


iS>- 


oxv 


that  i^')ul)lc-  it  must 
idiiaiy. 

.  (F)  (l()ul.lt-(l,  fifth 
(I'D  (loul)k'(l,    root 

rds  with  ono  voice 

owing  moiuis:  One 
the  two  reniaining 
■atod  as  though  the 
olldW  tlio  rules  for 
ned  note  must  be  a 
it.  This  sustained 
t  is  more  freqi'.cntly 
■oioe.  The  moving 
lie  dominant  in  the 
part;  next,  v.lien  it 
is  the  tonie  in  the 
e  sustained  note  is 
note  is  possible  on 

lus  clear.  Observe 
exclusively.  The 
the  sustained  note 
inant  in  the  highest 
exercises  Nos.  1,  3, 
Is  and  sixths  only. 


I 


+ 


-0- 


J 


Jl 


-s*. 


T 


CHORD  COM  BIN  A  TIONS 


57 


■jw 


-zy 


4 


■--r-f-f 


ill 


^^m^m\ 


^ 


i^t 


m^ 


-a- 


^^m^-^M:ikM£kM^;^^ 


12  I        I        I        I  P 


4— 1-4 


No.  1.  Tonic  sustained  in  lowest  voice  (reniend)er  this  note  may  Ik) 
repeated  as  often  as  the  "  words  "  may  lequire). 

No.  2.    Tonie  sustained  in  highest  voice. 

No.  3.  Dominant  sustained  in  lowest  voice;  this  passage  maybe  written 
over  the  tonic. 


1! 


1' 


58 


THE  I.LEMKXTS  OF   VOCAL  HARMONY 


!N<).  4.    Dfiiuiiiiiiit  sustained  in  highest  voice. 

IS'd.  ;").    'roiiir  in  middii-  voice. 

^■(1.  t>.  DominaMl  in  middle  voice.  Xo.  5  is  limited  to  the  notes  given; 
No.  •>  may  extend  a  tliiitl  higher. 

No.  7.  Second  degree  ol'  scale  sustained  (the  C  in  tlic  third  measure  is 
in  advanci'  ol'  our  i)rcsi'nt  knowledge). 

No.  IS.  All  the  notes  that  may  be  written  over  the  sustained  third 
degree. 

No.  !•.    All  over  the  fourth  degree. 

No.  10.    All  over  the  sixth  degree;  more  numeroiis  than  the  hist  two. 

No.  11.    All  over  the  U'ading  note. 

No.  \1.  Siidws  hdw  the  perfect  iifth  may  he  used  over  the  second, 
fourth,  and  sixth  degrees  as  sustained  note's.  Observe  tliat  the  root  of  the 
iifth  is  live  degrees  al)ove  the  sustained  note;  ?.  c.  it  is  its  dominant. 
Thus:  — 

r.Mss.         2d  voice.      1st  voice. 

1)  A^  >:. 

sustained     dominant 
note.  of  ]). 

The  reason  for  thi.-;  and  for  many  otlier  tilings  will  appear  wlien  we  get 
to    IJelated    Keys. 

This  sustained  note  of  which  we  have  been  treating  is  called  a  Pedal, 
or  Organ  Toiid.  'I'he  term  is  derived  from  the  use  so  often  made  of  it  in 
organ  nuisic.  the  pedals  of  the  organ  furni.shing  an  etl'ective  means  for 
sustaining  a  sound  for  any  length  of  time. 

H.irinniii/..  tln's."  in  )1iv(m>  jKirN;  tlion  do  tlio  .same  with  all  tlio  exercises  given  from 
till'  lM'i;iiiiiinn'  of  till'  Imki];. 


d- 


ll^tllf^lJj^ill^Jl^^l^mE^ 


i 


y 


the  notes  given ; 

third  measure  is 

sustained   third 

n  tlie  hist  two. 

over  the  second, 
it  the  root  of  the 
is  its   dominant. 


L>ar  when  we  get 

is  called  a  Pedal, 
ten  made  of  it  in 
.'ctive   means   for 


exercises  given  from 


a 


1 


3: 


CHORD   CO.VIUNA  TIOXS 


59 


p4ij]iX?n:n"i'  ^1 


F-t- 


u 


^iMk 


■:^ 


?2iniP^^F^|5^1-^  0 


V 


REVIEW 

1.  Of  what  does  a  eomnion  cliord  eoiisist? 

2.  Wiiat  n;iiiie  is  jxiven  to  liic  sound  <>ii  whicii  tlio  cliord  is  huill? 
.'5.  How  many  perfect  chords  niay  bo  made  in  the  major  scale? 

4.  Wliat  Ixiiid  of  a  chord  is  the  remaining;  one? 

r*.  Wiiat  is  a  diord  witii  major  third  called?     AVith  minor  third? 

0.  How  many  chords  in  the  scale  have  major  thirds? 

7.  On  which  degrees  of  the  scale  are  they  found? 

8.  What  names  do  Ihey  hear? 

11.  How  may  a  chord  he  change  \  from  major  to  minor,  and  the  reverse? 

10.  How  may  a  major  chord  he  changed  to  a  diminished? 

11.  IIow  may  a  minor  chord  be  changed  to  a  diminished? 

12.  Wh.at  members  of  the  chord  may  ))e  duplicated  in  three-part  writing? 
i;j.  Which  member  nmst  be  present? 

14.  Which  degree  of  the  scale  should  not  be  duplicale<l  ? 

1.").  Is  the  name  of  a  chord  changed  by  changing  the  arrangement  of  its  letters? 

IT).  How  must  the  letters  be  arranged  to  find  the  root? 

17.  What  is  meant  by  close  or  open  harmony? 

18.  Do  Root  and  Hass  mean  the  same  thing? 

r.>.  Which  is  the  l)est  member  to  (hii)licatc?     Whieh  next? 

20.  Are  there  any  cases  in  which  two  fifths  may  be  written  in  succession? 
Describe  them. 

21.  IIow  may  two  complete  chords  be  written  in  succession  in  three  parts? 

22.  May  successions  of  chords  with  the  third  used  as  a  bass  be  made? 

23.  In  which  form  does  the  diminished  chord  sound  best? 

24.  IVIay  successions  be  made  with  thi>  fifth  used  as  a  bass? 

2.").  What  is  the  first  way  given  in  whieh  a  cliord  may  be  used  with  its  fifth  as 
a  bass  ? 


6o 


THE   ELEMF.XTS   OF    IVCAL   J/.lAWOXi' 


•JC.  On  whicli  dofiroos  of  tlio  scale  does  tliis  sound  lu'st? 

27.  (iivi'  tlio  rnk'  lor  nsinj;;  tlir  tonic  dionl  witli  its  liftli  as  a  l)ass. 

2'^.  How  may  ..vo  coniplctc  cliords  he  easily  written  in  succession? 

•2'.K  hi  wlial  otlicr  way  may  a  chord  occur  willi  its  liftli  as  a  bass? 

;!(>.  What  constitutes  a  jU'rlecl  close,  or  cadence? 

.'il.  In  what  way  may  tiie  third  he  duplicated? 

;)2.  What  is  the  sustained  note  called,  over  or  iiudor  '  '..ieli  a  succession  of 
liarinonios  is  wriltt'ii? 

,">;'..  Which  deiii-ee  of  the  scale  makes  the  best  i-od.d  note?     Which  next? 

;!l.  How  may  chan^injj;  and  jtassiiii.'  tom-s  be  used  in  three  jtarts? 

',>'>.  May  tiu'y  occur  in  two  parts  at  the  same  time? 

;u;.  How  do  they  dilTer  from  the  pedal  note  passages  already  «j;iven? 


If 


J' 


t'ssioii 
bass  ? 


V 


•li  a  siicc'ossioii  (if 
Wliich  iH-xt? 

V  <j;ivcn? 


/•.ISSLVG   JO.VAS  A\'   THRIU:  PARI'  WRllLXG 


Ci 


(lIAPTHIi    XI 

PASSINd    TONKS    IN    TIlliKK  I'VIM'   WKH'INM; 

PASSlNCi  tones  iii;iy  lii'  used  in  thri'c-iiart  wriliiit,'  in  one  vnicc,  while 
the  reinaininj,'  voices  sn.stain  two  nienilieis  ol'  the  chonl;  or  tliey  may 
occur  in  (wo  voices  at  tiie  same  time,  providid  tic  voices  move  togi'ther  in 
tliirds  or  sixtiis.  I'assai^es  of  this  kind  dil'l'er  from  llie  pedal  note  passaL^es 
already  described,  in  that  the  last  notes  struck  with  the  sustained  note  may 
be  dissonant,  provided  ihey  move  u[»  ur  down  unu  degreo  to  lucmbcrs  of 
the  lollowiu}'  chord. 


-75^ 


•    • 


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PffrT'^^lfWfE^&l^'ITll 


3       +        + 


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62 


77/ A-   ELEMENTS  OF   VOCAL  ILIKMOXV 


Nil.  1.    PassiiiLT  tones  in  out;  voico,  lust  variety. 

IS'ii.  •_'.    Second  variety. 

No.  ;').    Third  variety. 

Ko.   I.     l''onitli  variety. 

No.  f).    l-'irst  variety  in  two  upper  voiecs,  then  in  two  loAvcr  voices. 

No.  ti.    St'eond  variety,  in  same  way. 

At  A  the  i>assag(^  recpiires  some  exphination.  The  I)  and  F  must  he 
shar[..  lieeaiise  they  are  helow  the  mendiers  of  the  ehord,  hut  tlio  V  on  tiie 
third  heat  nuist  he  natural  heeause  it  is  iihovo  the  E.  If  it  were  sharp, 
the  piissage  wouhl  he  in  the  key  of  (J. 

No.  7.    Tliird  variety,  in  two  upper  voiecs. 

No.  S.    Second  varit'ty,  in  first  and  third  voiecs. 
■     No.  i».    Third  variety,  in  iirst  and  tliird  voices. 

No.  10.    Fourth  variety,  in  tv;o  upper  voiecs. 

It  would  far  exceed  (iur  limits  to  give  illustrations  of  every  possihlc 
way  of  using  these  passing-  tones.  They  nuist  he  learned  hy  ohscrvatiou 
and  the  aualvsis  of  good  music. 

The  examples  that  follow  illustrate  the  various  ways  in  which  changing 
notes  may  he  used  in  three-part  writhig. 


l-rT'^-ll 


Uri 


m  II 

r' 


owcr  voices. 

)  and  F  must  lio 
l)ut  the  V  on  llic 
If  it  were  sharp, 


if  every  possihlo 
;(l  by  observatiiiu 

II  which  cluuigiiig 


-a- 


^ 


« 


-6>- 


J 


PASSIiXG    TOA'ES  IX   Til REE-IWRT  WRl ILW, 


63 


f   f 


:* 


-«>- 


Kt 


4 


No.  1.    Changing  notes  (singly)  in  all  throe  voices. 
No.  2.    Changing  notes  in  lirst  and  second  voices. 


No.  3.    Changing  notes  in  second  and  third  voices. 

Observe  that  when  doubled  it  is  always  in  thirds  or  sixths. 

Suspensions  may  be  used  in  three  parts,  in  accordance  with  the  follow- 
ing directions. 

A  suspended  major  second  in  an  upper  voice  is  always  a  liolding  back 
or  retanhition  of  the  third  oi  the  chord  from  beneath;  therefore,  the  other 
voices  must  have  the  root  and  fifth,  or  the  root  duplicated. 

3(1  3d  3(1 


Ei££: 


f    r 


^^ 


5tli 


No.  1.  Suspended  major  second,  first  voice;  second  voice,  fifth;  third 
voice,  root. 

No.  2.  Suspended  major  second,  first  voice;  second  and  third  voices 
have  the  root. 

No.  3.  Suspended  major  second,  second  voice ;  first  voice,  fifth ;  third 
voice,  root. 

No.  4.  Suspended  major  second,  first  voice;  second  voice,  root;  third 
voice,  fifth. 

This  being  a  tonic  with  its  fifth  used  as  a  bass,  it  must  be  followed  by 
the  dominant. 


64 


/■///:•   F.LEMEM'S  OF   IVCVIL   I/AR.\tO.VV 


I 


A  siis|icii(lr(l  fiiurtli  is  citlicr  tlu'  ivtunliitioii  of  tlu'  tliiid  of  :  (■li(H'<l 
from  iilH)Vi'  with  its  nxil  ut  tlic  Iki.'^^^s,  in  which  cuso  tlu:  rciiiiiiuiiij^  voice 
must  have  the  lit'tli  of  the  chor  1  or  (hml)h:  the  root;  or  it  may  1h'  tlio 
retardation  of  the  liflh  of  a  chunl  with  i*s  third  at  tho  bass,  when  the 
remaining  voice  must  havr  il;e  rn,  L 


ad 

i 


r>tii 


Sth 


f^i- 


J        J      *    I. .  1 

.'M  Sd 

No.  1.  Suspenilcd  fouith  in  lirst  voice;  second  voice,  fifth;  third  voice, 
root. 

iNo.  'Jl.  Suspended  fourtli  in  second  voice;  lirst  voice,  lifth;  third  voice, 
root. 

No.  !1.  Suspended  fourth  in  lirst  voice;  second  voice,  root;  third  voice, 
tliird. 

No.  4.    Same  in  A  minor:  the  susj)eiided  fourtli  ((J5  (')  is  diminished. 

The  suspended  seventh,  major  or  minor,  wlieii  it  resolves  by  desceiid- 
inj?,  is  either  the  retardation  of  the  root  of  a  chord  with  its  third  at  the 
bass,  t)r  the  retardation  of  llie  third  of  a  chord  with  its  lifth  at  the  l)ass.  In 
the  lirst  case,  the  other  voice  must  have  the  fifth ;  in  the  second  case,  the 

I'OOt. 

If  the  seventh  is  major  and  resolves  \ipv/ard,  it  is  the  retardation  of 
the  root  of  a  chord  with  its  root  at  the  bass,  and  the  (  ther  voice  must  have 
the  third. 


3d 


^-l-.i-J 


No.  1.    Suspended  seventh   in   lirst  voice;   second   voice,   fifth;   third 
voice,   third. 


'y 


third  (»f  :  clioid 
rciiiiiiiiiiijif  vuiic 

•r  it  iiiiiy  Ik-  the 
buss,   wlioii  till' 

5l)i 


)  is  dinunislicil. 

)lvos  by  (kwciid- 
1  its  tbini  lit  the 
1  at  the  l)ass.  In 
second  case,  the 

he  retanhition  of 
voice  iiiiist  liavc 


r  r 

'oico,   fifth;   tliird 


LZZ 

*- 

ad 

fth 

till 

•d  voice, 

ifth 

11 
;  third  voice,                 \ 

•oot 

;  third  voice, 

j:iSS7.\(;    liK'-ES  JX   niREE  I'M^T   WIUTIST, 


65 


No.  1.    Suspend  \   seventh  same  as  lii^t  examph-,   but  the  seventh    is 

'  ''"nV.  •?.    Suspended  sevenlh  in  tiist   voiee;   n-ut   in  s.vond   v..i,v;   lifth  in 
ainl  v.-iee.      I'.ein-  a  tonic  with  til'tli  ut  bass,  the  .lumiiiant  niusl  lull,,v.. 

N(.   4.    Tlie  ivsM'Mtion  of  this  .seventh  .uiv.s  the   liist   inv.isi..n  .u   tl:.' 
diminished  ehnnh      M-re  will    be    b.und    abnul   this  ehmd    in  sueceedm^' 

'  ''no!').    Suspended  major  Si^venlh.  a  rel.irdation  of  root  from  beneath; 
Sfeond  voice  has  third:  third  V(.iee,  root. 

The  snspende.l  ninth,  major  or  minor,  when  it  ivsolves  bv  d.'sreiKhn-'. 
may  be  either  u  retardation  of  the  root  of  a  ehor.l,  with  its  root  at  ''  ■  Imss, 
uhcn  the  other  voi.'c  must  have  tin.  third;  ..r  a  retardation  ot  the  .  ni  ■;  a 
chord  with  its  third  at  the  ba^.s,  when  the  other  voiee  must  '  i.v  mo 
root. 


1 


9th 


9th 


4  o      ,      1  '<  ^„  t I  r- 


11 


No.  1.    Suspended  ninth,  lir^vt  voice  ;  second  voice  has  third  ;  third  voice, 

No.  2.    Suspended  ninth,  lirst  voice;  second  voice  has  root;  third  voice, 

third.  . 

No.  3.    Major  ninth,  resolving  nj.ward.     See  major  second. 

There  are  cases  in  which  the  susi)endcd  seventh  and  ninth  may  be 
reti-dations  of  the  tifth  of  the  chord.  They  will  be  treated  in  four-part 
writi,  u-  There  is  but  one  dissonant  that  may  be  suspended  m  the  lowest 
part,  ..  mely,  the  second  tnajor  or  minor.  It  is  always  the  n^tanlation  of 
the  thir  :  of  the  chord,  therefore  the  other  voices  have  the  root  and  tilth  or 
the  iif.'i  doubled. 


-d 


J. 


a 


14    ^ 


iSi^ 


mf^^ii  .1.1 


tmmmmmeiffmmmgti^lt 


fc 


in 


U 


M 
it' 


Of) 


////■:  FJ.r.MF.xrs  of  iocal  //.u^mo.vv 


N((.  I.    Siis|icii(lc(I  srcninl  ill  third  voice;   tii.  I  voice,  loot ;  secoiid  voice, 


mill. 


No.  ».  Siispeiiilcd  .second  in  liiird  voi<t';  lii.si  voice,  lil'tli;  hecoiid  voice, 
root. 

No.  .">.  Suspended  se-  ,i(|  in  tliiid  voice;  both  u|i])cr  voices  liavi'  lil'tli, 
root  omitted. 

Tliese  sus|ieiis'  iis  rc(|iiire  ii  j^dod  deal  of  stllily.  Their  iiro|)er  use  is 
one  ol  the  ilii^  iilt  points  in  liiiinionv.  Write  them  in  all  ke\s,  and  on 
all  degn  !' •  .1  the  scale.  Analy/.e  the  ('Xiim|iles  which  follow.  I'oint  oiiL 
e\eiy  uissoiiant.  State  whether  it  is  a  chanLfing  or  passinif  tone,  or  a 
rela  lation.  It  will  lio  found  exci'llciit  practice  to  writi'  out  llii'  harmony 
with  all  the  dissonants  eliminated.  It  is  alway.s  a  surprise  to  sec  liow  lew 
and    Impli'  are  the  com!»iiiati(His  that  remain. 


■       I  4 

I 


3 

«7 


,   .   •  r      1    '     ^ 


■Oh 


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'  -(5" 


71 


t ;  st'tiiii(!  Voice, 

i;  .seciJiid  Vdicc, 

•ici's  liavi'  lil'tli, 

\v  \>\t>\K'V  use  is 
ill  ki>\s,  iilid  nil 
low.       I'dillt  (MIL 

isiiiLf  tdiic,   or  ;i 

nil  lln'  liiiniiniiy 

to  8CU  ]u)W  lew 

1  H^i-I 


r: 


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J>A-\SL\G    IOM:s  I.\'    il/h'i:i:   I'.Uxl'   WKII/Au 


miL:^:'^i-,j^P'^L\±i 


f'^Y^€\u0^''"^ 


ni-n 


6'  I.  f  ^  s  .  ;l/  •  •  •  -|i   —      '.'•  ,  s    . 


^■ 


; 


-A.     3^ 


-=t-t--x-i'f— f-*  o (^ — -*  pa/   I         4-^- T- I     -P-  -^^        ,»^  # 


r    'r-    y   f  f      fwrr 


—I — J l-p-1— J.--1 — I  ,  J -J— 1 

f      r     T  r  r    ^ 


1  I 


r— I    r 


i 


m 


rni:  Ei.iiMicxis  or  ivc.i/  j/.inmo.w 


r      r    r 

:i — ;  Ji'   J  :  J 

I      I      I      I 


r^,^  J  — ;    J  ,  • 


f-  rr'' 


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II 


r- 


REVIEW 


1.    Wlioii  pnssint;  tonc«  occur  iit  two  voices  at  the  same  time,  \\\\\\\  inleivuls 
liiil'«t  separate  tlu'inr 

L'.    In  wliat  respect  ilo  these  passing;  tones  dilTer  from  tlie  peilal  passages? 
t"i.    .May  tloiiipled  ehan'j:iiig  notes  lie  nsed  in  the  same  wav? 
■1.    A\  hat  <iissonaiit  intervals  may  lie  snspeiided  in  an  npper  voice? 
fi.    How  does  the  major  second   resolve?     Of  which  memlici'  of  the  chord  is 
it  !i  retardation?     \Vliat  iiccompanies  it? 

<!.    Of  which   inendier  of  tlie  chord   may  a  suspended   fourth   he  tiic  retiirda- 
tion?     What  aceoinpanii's  it? 

7.    Of  which  member  of  the  cliord   is  the  suspended  seventh  ji  retardation 
when  it  resolves  downward?     "When  it  resolves  upward? 
}^.    May  the  minor  seventh  resolve  upward? 
!•.    May  the  n'lajor  seventh  resolve  downward? 
in.    IIow  is  tlie  suspi'iided  seventh  accompanied  in  cacli  ease? 
1 1.    Of  wiiat  is  the  major  or  minor  ninth  a  retardation  when  it  resolves  down- 
ward?   AVhat  accoinpanies  it  in  each  case? 
r.'.    May  the  minor  ninth  resolve  upw;ifi? 
l.'i.    What  dissonant  interval  may  be  suspended  in  the  bass? 
11.    Of  what  is  it  the  rottmlation?     How  is  it  accompanied? 


)■ 


i  i  i 


f 


ri  iT-^  u 


■iV 


II 


no.  nliMt  iiilfivid.^ 

•  voici'? 

IT  of  llii'  clionl  is 

li  lie  tlio  ivtiinln- 

iilli  II  n'tanlatioii 


it  resolves  duwii- 


77/A-   IH)M/XA.\T  S/:i-F.yTl{  (7/O/C/) 


69 


CHAITKU    XI I 

TIIK    DOMINANT   SKVKNTII    CHOKD 

TIIKIIK  is  (.lie  olu.nl  in  tlio  sciilo,  niinu'ly,  tlio  dominant,  in  wliicli 
scv.'nil  ad.litioniil  sounds  may  1k>  added,  each  ono  a  tlanl  alxne  iho 
lust.  Tiic  lirst  of  thesi!  addition.il  sounds  is  a  third  altovo  the  lil'lh,  tiiere- 
foiv  a  scventli  ahovc^  the  root.  With  this  addition  the  ehord  is  known  as 
tlie  Clnml  of  Itoininnni  Snrndi.  There  are  two  dissonant  intervals  in 
this  chonl,  namely,  a  seventh  hetweeii  the  root  and  sc'Venth,  and  a  dinnn- 
ished  liftli  hetween  the  third  and  seventh.  The  seventh  must  resolve  by 
descending;  the  third  by  ascending.     This  seventh  is  minor. 


N(».  1.    The  complete  chonl  of  dominant  scventli  in  the  key  of  C. 

No.  2.  The  root  and  seventh.  Ohservo  that  the  root  moves  either  up 
or  down  to  the  root  of  the  toiuc  chord.  This  is  the  natural  progression  of 
the  dominant  seventh,  namely,  t(.  the  tonic  chord.     It  is  called  the  Jirst 

No.  :i.  The  third  and  seventh  with  their  resolution.  Observe  that  the 
diminished  chord  is  nothing  but  the  third,  lifth,  and  seventh  of  the  dominant 

seventh  ehord. 

No.  4.    Hoot,  third,  and  seventh;  showing  the  movement  of  each. 

In  three-pai't  writing,  either  the  third  or  fifth  may  be  omitted,  and  the 
chord  maybe  inverted  in  any  way;  that  is,  tht^  restriction  on  the  use  of 
the  fifth  as  a  lass  note  to  a  Common  chord  does  not  apply  to  a  dominant 
seventh  chord. 

Write  these  ex.iinples  in  every  key. 


THE  ELKME.XTS  OE   VOCAL  IlAIUrOXV 


-J- 


Nos.  1,  2.  Root,  fil'tli,  aiul  scvcntli;  root  at  liass;  1,  close  hanuony; 
2,  open  harinony. 

Nos.  8,  4.  Hoot,  fifth,  and  seventh;  fifth  at  bass;  3,  close  harmony; 
4,  open  liarniony, 

Kos.  ;"),  (!.  Koot,  fifth,  and  seventh;  seventh  at  ])ass;  5,  close  harmony; 
G,  open  harmony. 

Observe  that  the  root  does  not  have  to  move  when  it  is  not  at  tlie  bass, 
and  that  iM'injj;  stationary  it  bcconu's  the  iifth  of  the  tonic  chord.  Also,  that 
the  fifth  descends  to  avoid  the  donhliiiif  of  the  third  of  the  tonic. 

Nos.  7,  S.  l{(K)t,  third,  and  seventh;  root  at  bass;  7,  close  harmony; 
8,  open  harmony. 

Nos.  0,  10.  Hoot,  third,  and  seventh;  third  at  bass:  0,  close  harmony ; 
10,  oi)en  harmony. 

Nos.  n,  12.  Root,  third,  and  seventh;  seventh  at  bass;  11,  close  har- 
mony; 12,  oj)en  harmony. 

liefore  proceedinc;  with  three-part  writinof,  we  must  for  a  moment 
revert  to  our  promise  (p.  4!>)  to  say  sonu'tliiiiij  more  aljout  two-part 
writincf  when  more  knowledge  of  chord  cond)inations  was  attained.  We 
showed  how  the  seventh  might  be  used  as  a  passing  tone,  a  changing  note, 
and  as  a  suspension.  lint  the  dominant  seventh  may  be  used  almost  as 
freely  as  the  augmented  fourth  and  diminished  fifth,  which,  as  we  have 
just  found,  are  part  of  the  dominant  seventh  chord.  The  onl}'  restriction 
is  that  in  two-part  writing  tl,is  seventh  does  not  sound  well  if  ai^proached 
by  a  leap,  except  when  the  leap  is  from  another  mendjcr  of  the  same  cliord. 


^ 
H 


I,  close  harmony; 

>,  close  Imrinony; 

5,  close  liariiiony; 

is  not  at  tlie  l>;iss, 
[•liord.     Also,  that 
the  tonic. 
',  close  harmony; 

0,  close  harmony ; 

iss;  11,  close  har- 

st  for  a  moment 
"e  aljfiut  two-part 
as  attained.  We 
a  changing  note, 
)e  used  almost  as 
Inch,  as  we  have 
le  onl}'  restriction 
,vell  if  ai^proachod 
)f  the  same  chord. 


n 
^ 


THE  DOMIXAXT  SEVENTH  CHORD 


71 


jrs 


fy 


2J      )         ' 

T  t    r 


II 


'^-^ 


.1- 


^ 


i  i?^ 


r\ 


n 


X- 


6 


:=i 


?^- 


1^ 


--=1 


-J- 


_-_^;^- 


-o- 


I     I 


-A 


--I 


10 


1^- 

r 


r 


fi 


13 


r  "^  f 


=1- 


--J HE 


14 


"X 


-ii^ 


fl 


Nos.  1  and  2,  the  seventh  is  approached  diatonically. 

Nos.  3  and  4,  the  san.e  inverted,  making  a  second. 

No.  5,  seventh  approached  l.y  a  leap  from  another  member  (the  fifth)  of 

the  chord. 

No.  0,  same  inverted. 

No.  7,  seventh  approached  by  leai)  from  the  third. 

No.  8,  seventh  preceded  by  the  root  of  the  same  chord. 

No.  0,  same  inverted. 

No.  10,  the  seventh  is  first  heard  as  root  of  preceding  cliord. 

No.  11,  same  inverted. 

No.  12,  the  seventh  !h-st  heard  as  third  of  precedhig  chord. 

No.  lo,  the  same  inverted. 

It  will  be  found  on  singing  or  playing  these  passages  that  the  inversions 
sound  better  than  the  original  positions. 

No.  14,  the  seventh  approached  by  leap  from  above;  this  is  the  only 
way  it  may  be  done,  namely,  from  the  fifth  r.f  the  chord. 

These  examples  include  nearly  every  way  in  v/hicU  it  is  possible  to 
use  the  dominant  seventh  in  two  parts.  Other  intervals  that  may  prec.'le 
the  seventh  are  indicated  by  the  black  notes.  These  exami-les  sboul.l  be 
writtt'ii  in  every  key. 


I 


72 


THE  ELEMENTS  OF   VOCAL  HARMONY 


Two  ('xaiuiilcs  to  illustrate  tlu'  use  of  the  root  and  seventh  oi  the 
dominant  in  two-part  wiitiiit;'. 

At  A  the  seventh  is  susin'iKh'd,  pi'oilucing  a  retardation  of  the  third  of 
tlie  tonic 

At  B  is  an  anj^inented  fourth;  tiie  upper  note  is  suspended,  making  a 
retardation  of  the  root  of  the  tonie. 

At  C  the  hiwer  note  is  suspended,  making  a  retai'dation  of  the  tliird  of 
the  tonie. 


El 


'H 


1»:»: 


r 


H 


*.  \ 


I 


f 


I  +  J 


im 


AJ- 


-#  -  :  ^r; 


-t     4 J      -1  ,  ^--1..^— [- ,™°J  — -I r  1  J     I     I  ■        .. 


T" 


r 


T 


The  exani]th's  that  follow  illustrate  the  use  of  the  dominant  seventh 
chord  in  three-itart  writing. 


soveutli  ui  tlic 

of  the  tliird  of 

lulod,  making  a 

of  the  third  of 

-J  -J^d. 


THE  DOMINANT  SEVENTH  CIIOITD 


73 


:-Cr.. 


% 


— r— — ^-f— r-f"  T ~f    r      p. 


J-.        !_+__ 


d- 


:Kr:^^: 


i-.::^; 


^J 


Jzs3£;^il 


5BE^;^ 


f 


sipl 


Passing  and  changing  notes  are  used  in  the  third  example. 

In  the  following  exercises  use  the  groups  derived  from  the  dominant 
seventh  chord  as  often  as  possible.  Ilannonizo  lii'st  in  two,  then  in  three 
l)arts. 

Use  dominant  seventh  chord  when  the  notes  are  marked. 
.     1         +  +  +  +  +  .      + 


X^ 


S^S^Epfe^ 


-fs 


K» — o- 


5 


II 


niinant  seventh 

#1  -^  '^  I  ^  ij 
—  —  .g^ 


i:„j-(5!_ 


£E:i£=: 


o- 


:-4- 


-^ — r 


.^i^^ 


^ 


-^ r- 

Ed 


f=- 


:^::-=trF5 


-.-i^i::: 


^fl 


74 


THE  ELEME.XTS  OF   VOCAL  HARMONY 


3 


4    \- 4^ 


'~^^'"^'^^^- e~1!rf^^l 


-fjt- 


[i^x^iiiiiizizi 


-  "%.:it 


T^l 


4-4^ 


p- 


l^IM^ 


-i»  -^. 


lrt^l?33^ni 


la  two  parts,  the  uugnK'Tilcd  fourth  and  its  inversion,  the  dinnnished 
fifth  (J.  r.,  the  third  and  si-vonth  of  the  chord),  or  the  minor  seventh  and 
iis  inversion  ^u  <•.,  tlio  root  and  seventh  of  tlie  eliord),  are  the  only  dis- 
s.niant  intervals  that  n.ay  represent  the  dominant  seventh  chord.  Ilenee 
in  the  above  examples  it  is  not  always  possible  to  represent  the  dissonant 
nieuibers  in  tv.i)  parts. 

REVIEW 


1. 

2. 

t\ 

*->  ■ 

4. 

T). 
G. 
7. 

8. 

10. 
11. 

r_>. 
i;5. 
11. 
1'.. 


Which  clionl  in  the  scale  may  hear  ndditional  sounds? 

AVliat  is  tlic  lirst  sound  that  may  be  added V 

\\s  what  name  is  this  chord  known? 

How  maiiy  dissonant  intervals  are  there  in  tiiis  chord? 

I'.ctween  which  members  of  the  chord  do  they  occur? 

How  docs  the  seventh  resolve? 

How  must  tlie  third  move? 

How  does  tlic  root  move? 

How  does  tlie  diminished  cliord  originate? 

How  many  inversions  may  be  made  of  this  chord? 

Mav  its  (iftli  be  used  as  a  bass? 

^^  lK>t  is  <lonc  with  the  root  when  it  is  not  at  the  bass? 

Wliich  member  of  die  tonic  chord  does  it  become? 

Why  does  tlie  liflh  descend? 

In  what  way  may  the  seventh  be  taken  by  a  leap? 

."May  it  bo  take.,  by  a  Uap  from  aliove? 


RELATED  KEYS 


75 


m^^ 


^1 


II,  the  diiiiinisht'd 
linor  seventh  aiul 
are  the  only  dis- 
th  chord.  Hence 
ent  the  dissonant 


cijapt:'R  xih 


UKhATKD   K1:YS 


IT  was  found  (p.  30)  that  every  major  scale  had  t\V(.  major  relations, 
because  every  tetrachord  belonj^'s  to  two  scales;  and  that  tlicsc  two  re- 
lated scales  are  the  scales  of  which  tiic  iourth  (snlnlominant)  and  lil'th 
(dominant)  are  the  keynotes.  A  modulation  into  the  scale  or  key  ol  the 
subdominant  is  indicated  by  flattin.t,'  the  seventh  (Icadii.,,  tone)  ct'  the 
principal  scale.  A  modulation  into  the  scale  or  key  of  the  dominant  is 
ind"    ited  by  raising  th'   fourth  of  the  princi[)al  key. 


^ — • 


With  the  harmonic  means  at  our  disposal  at  ]iresent,  there  is 
way  of  treating  these  altered  notes.     They  mnxt  be  niembers  fil 
nant  chords  of   the    keys  to  which  they  l)elong.     Therefore,  a- 

dominant  of  F,  the  \^  must  be  its  seventh.     Thus:  ^^  j..  (;  j,, 

is  the  dominant  of  G,  the  Fi  nm.  t  be?  its  third.     Thus:  ^^  ,',L  ^^  (^      Tl 

examples  that  follow^  give  the  intervals  tliat  may  be  found  in    liese  chords 
that  are  available  in  two-part  and  thi'ee-part  wriiiut:.     It  will  iie  seen  tluit 


I  one 
iloiiii- 
is  the 

d  as  I) 


le 


o 


76 


77//;  jJ.r.MF.Ms  OF  roc.i/.  //.lA'.UdVr 


llu'V  arc  exactly  the  saui.-  as  tli.isc  alicaily  -ivcii  that  may  l.c  ohtaiiid   I'n.iu 
the  (lomiiiaiit  sc\fiitli  cIhikI  oI  ( '. 


ri/^         h.'nA'    I     ?>■?>"       9o 


a 

«; 


0/5 


II 


-.&- 


f(§ 


'•■o  ">o 


*^ 


II 


No.  1,  t\vii-[>ait  CO  iiliiiLilidiis. 

No,  :2,  Ihrcc-pait  .•ic.iil)!  latioiis.  'I'licsi'  shmild  he  enm|iare(l  with  thi' 
oxaiiiph'S  oivcii  ir.>m  the  ('mniiiaiit  sexiith  clinid  of  ( ',  and  should 
lie  written  old  in  full  with  th(  ir  progression,  just  as  in  that  exaniple.  ^ 

In  the  e\ani].lcs  tiiat  folio  v,  these  alteied  notes  will  he  found  Inst  in 
two-pait  then  in  three  -pail  wiil.ny. 


.o--^-Hr    r 


F:ll 


:  • '  i  r  '■- 


f      :-t 


^         i  I 


ii4 


=J..fcJz 


z^zrzt 


j^_a 


=^___z^^l    J— * 1£  • h 


dlitaiiii'i'   IVdiu 


„u 


iiliiU'fd  wltli   the 
{',    iiiul     sliiiuld 
;  cxiiiiiplo. 
1)1'  i'ouiid  fust  in 


^h-^ 


111 


I  I 


I 


»— f 


n 


RELATED   KEYS 


77 


o*  -^     I    J,.  -J    -I    -J,— 4 J— Jr^- — •    -q 


J-J-^-^F^ 


.__4- 


«  ri|.r._  iz^ff 


"-1" 


^  ?■!'  r  r  f  f  ^  -r^  [ 

V    8  1  ,^      III  £-    «-$ 


i-J     J     i-: 


r  r   1 


<>- 


»-"^ 


— 1 


(5-  r^- 


II 


In  the  following  rxiivis.s  tho  nuscl  I'.nutli  u.ul  Inw.MH.l  srvcuth  arc 
iMtnulucHMl.  It.nu.uilRT  that  tlu'  niis....!  rouilh  is  tl.r  third  in  the  don.nu.nt 
chord  (.f  ..no  ivli.lod  ninjor  koy,  ai.dtlH.  lowrred  sovc-nth  is  the  scvfulli  m 
the  doiuiuaiit  ul'  the  otlier  ri'hited  luajur  key. 


M-^- 


<^       i'^»|3     ^1* 


-t- 


mu 


b — ■' —  ^  . 


^t-H 


/s; 


o     ^ 


D 


3 

til.- 


'SAA^^:mm^ 


r^ 


-*- 


tr 


H^plliZ-L^J 


Ol 


:4    .^ 


--»   -T  - 15- -_-::: j;:;! 


r-4  -¥- 


1=^^:^- 


-:ii.y^:^ 


loip 


i^'i^ 


--•^.■. i,.3^^-»i?J 


7« 


iy- 


11  IE  EI.EMEXTS  OF  VOCAL  HARMOXY 


'V   •  J-5*1L._.^ 


#•    !• 


t^ 


^=iiei_ijii^i:i[iIi..^iiaMpil 


f/t^^gnxi-^^  I7JT  R"' TS 


REVIEW 

1.    How  many  iiKvjor  ivliUioiis  lias  :iiiy  iiiven  niiijor  soak- ? 
•1.    r  1)011  wliirli  (li'grccs  of  the  <rivon  scale  do  llieso  related  scales  bejiin? 
;!.    Wlial  altered  note  of  the  <:iveii  scale  iudicates  a  inodiiUitiou  into  the  re- 
lated scale  liegiiiniiijj;  on  the  fourth  de;j,ree? 

1.    In  which  chord  of  the  related  scale  is  this  uote  found,  and  which  menil>er 

of  tlie  chord  is  it? 

f).    What  altered  note  of  the  5,nven  scale  indicates  a  modulation  into  the  related 

scale  lieiiinniiiii  on  the  lil'th  deizree? 

C.    In  whi.-h  ciiord  of  the  related  scale  is  this  uote  found,  and  which  member  of 
tile  chord  is  it? 


W■M;!^ 


P£ 


f  ' 


n 


jMJ«:  •  •-  tL 


nmm 


I-  m 


^^Sfl 


WeHi 


liitiou  into  tliu  10- 
iikI  which  meinlK.n- 
on  into  tiic  related 
i  which  member  of 


y/.7i    .)//.\0A'   SCALE 


79 


ClIAPTKU   XIV 

TllK    MLNOK   SCALK 

TilE  „ri.nn  cf  the  miner  scdc  was  i.ointe.l  out  in  Cl.ui.ti-r  I.  l.ut  it  is 
cuuvcniont  to  tn.it  it  as  hein-  .Irriv.-l  i'nm,  tlu"  major  scalr,  U- 
eauso  a  niinor  scale  in  its  natural  I'orni  may  1h-  mkuU-  from  cNrry  n>ajor 
scale  l.y  arran,t,nnK  il«  ^o'Hi'^'^  '"t"  '^'^  ^•^■^'^^■^"  succession,  l.e-inniny  witli 
the  sixth  (^or  third  helow).  4       •         ,i 

Thus  the  Natural  Scale,  V  to  (\  if  written  from  A  to  A,  -ives  tlie 
natural  form  of  A  minor.  The  minor  scale  is  calld  the  nlaUrc  innn,- 
of  the  major  scale,  from  the  sounds  of  whi.-h  it  i.  ioruicd.  Co.isc.iu.-ntly, 
it  always  has  the  same  signature.  The  following  tal.h'  -.vcs  the  s.un.a- 
tures  of  all  tlio  major  keys  and  their  relative  minors  as  lar  as  six  sharps  an.l 
six  Hats. 

CMujor.or        G  Major,  or  1)  Major,  or  A^  Major,  or  E  Major,  (,r 

AMiuor.  E  Minor.  15  Minor.  1- Min.r.     *  C- Minor. 

B  Major,  or  FJ  Major,  or  F  Major,  or  U7  M^ijor,  or 

L^L--    «t       i*t ^Ql  S"        - -      C-*'  -""  ' — Ifeiy    ■    — ~"~ — —  ,_ 

^  G- Minor.  "         I)- Minor.  *^     D  MLum-.  G  Minor. 

Eb  Major,  or  A>  Major,  or  1)>  Major,  or  ^  ^^'l^.^ 

*"    "  C  Miu^;^^  F  Minor.  Vb  Minor.  E^  ^Wu.n: 


:,.i^em>m^icieif*=t«0smP^- 


r;.^..";^wi»i"^^tefe^teaaaj 


So 


/•///•;  h/./^.^f/cA-js  or  ivc.ii.  iiakmoxv 


'I'lu'i't'  are  Hcvcnil  forr.-t  of  the  ii  'i..;-  sciilc  vi.scd  in  iikkIitii  iiiiis  c.  Wv 
\\\\\  Ix'.^'iii  willi  llic  siiiiplcst,  callct.  iln'  /niriii'iiiii-  scale.  In  tliis  scale 
tiie  seventh  dej^Mie  is  raised  l)_v  an  accidental,  otlierwise  tlieie  would  Ite  a 
\vliole  st<i>  lictweeii  seven  and  ei^dit;  and  modern  liarniony  and  niel.idy 
too  demand  a  hall"  step  liere.  Mut  the  liarmonic  reascii  for  this  raised 
sound  is  the  most  important,  as  will  l)e  seen  in  a  few  moments.  Hxamino 
tlu'  rollowinjf  harmonic  ioiin  ol'  A  minor;  it  will  he  found  that  there  is  ii 
half  steji  lictween  two  and  three  and  live  and  six;  and  a  whole  and  one 
lialt  step  between  six  a)id  seven;  and  a  half  stei»  Ix'tween  seven  and  eight. 


-«- 


-k- 


"*"_ 
.i**- 


The  interval  hetweoi  six  and  seven  is  called  an  anp;mented  .second 
1)ecauso  it  includes  two  letters  and  three  half  ste])s,  one  more  than  tho 
major  second.  Conscciuently,  its  inversion  must  ])roduce  a  diminished 
seventh,  ci.i.iaininj,'  nine  half  steps.  In  the  next  example  are  given  the 
chords  that  may  be  written  in  tho  harmonic  scale  of  A  minor. 


-A- 


-%- 


i^ 


^: 


JL 


S-- 


■K^ 


Of  these  chords  Nos.  1,  4,  T),  0  arc  perfect  n- common  chords.  Nos.  2 
and  7  are  diminished  chords.  No.  =3  is  an  augmented  chord.  This  aug- 
mented lifth  is  another  new  interval;  it  contains  eight  half  steps,  one  more 
tiian  tht'  iierfi'ct  lifth,  and  its  inversion  nuist  be  a  diminished  fourth,  con- 
taining four  half  stc[»s.  So  we  lind  that  when  an  interval  is  less  than 
minor  or  perfect,  it  is  called  diminished;  and  when  it  is  greater  than 
major  or  perfect,  it  is  called  augmented. 

To  return  to  the  chords.  The  tonic  and  snbdominant  are  minor;  the 
dominant  and  sixth  are  major.  The  dominant  is  the  only  chord  that  con- 
tains the  vai.;ed  note.  (The  chord  on  thi'  third  cannot  bo  used  except  in  a 
verv  limited  wav.) 


xv 


ikIcI'Ii  imis  f.  Wo 
lie.  In  tliis  scalu 
•  tlii'li'  Wdiild  lie  il 
iiKiiiy  and  nii'lody 
:','n  I'or  this  raised 
onicnts.  Kxaniino 
luid  that  tluTc  is  u 
d  a  wlioh'  and  one 
I  seven  and  eiirht. 


+ 

Sv  ... 


-s*- 


7  8 

augmented  soeund 
)ne  more  than  tho 
[lueu  a  diminished 
iil)h;  are  given  tho 
inor. 


-^L 


-o- 


)n  chords.  Nos.  2 
chord.  This  aug- 
alf  steps,  one  more 
iiished  fourth,  cou- 
tcrval  is  h'ss  than 
it   is  greater  than 

int  are  minor;  the 
Illy  chord  that  eon- 
bo  nsi;d  except  in  a. 


THE  MIXOR  SCALE 


Si 


We  have  n.»w  readied  the  harmonic  reason  for  the  ra.s.Ml  note.  We 
have  found  that  the  seventh  may  he  ad.h'd  to  the  .lom.nant.  I'or  aeons- 
tieal  reasons,  the  seventh  may  he  iv.hled  to  major  chords  only.  i  he  chord 
Kd  15  is  minor,  and  must  he  changed  to  major  heforc  the  seventhjnay 
Ik.  aihU'd  to  it.     This  change    is  made  l.y  raising  the  third,  hence  the  (.-. 


.-4-4- 


U 


-4- 


-J 


1 


si..^£i4i4:fififTbf'1^ 


t/ 


*  ^  r . 


^11 


m 


^    J        I       J        ^     1 !    ,  .-, 


0       o- 


11 


••  rr 


r 


Tl...  nuijor  :m.l  its  rolativo  minor  are  so  .losMy  ...„m,.rl...l,  ,l,al  a  p of  nmsi,-  oft,.,. 

,,a.s...s  from  one  to  tl.e  otlaT  and  back  again,  .vnaining  for  ouly  an  .nManl  n.  tl.-  .vlat-.l 


kev. 


No.  1,  all  in  A  minor. 

No.  -J,  where  marked,  passes  into  the  relative  maj..r  and  hack  again. 

The  cancelling  of  the  raised  note  generally  indicates  a  passing  uito  the 

relative  major.  .   ,     ,,         i  .•    , 

No    ;}  begins  in  C  major,  hut  where  marked  it  passes  into  the  relatuc 

minor,  and  rcMuains  there  through  the  next  measure.     Analy/.e  thes..   giving 

the  names  of  every  chord.     State  wluiL  memhcrs  are  present,  whether  in 


I 


.mu 


T 


IMAGE  EVALUATION 
TEST  TARGET  (MT-3) 


V 


/ 


{/ 


/ 


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V 


c?- 


L<? 


m^ 


ih. 


i^. 


J 

if 


1.0 


I.I 


1.25 


itt  1!!!IM 

IB    |||||27 
5"    II  2^0 


111= 

1.4    111.6 


Photographic 

Sciences 
Corporation 


;v 


i\ 


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WEBSTER,  N.Y.  14580 

(716)  872-4503 


^9) 


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<v 


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n\ 


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CIHM/ICMH 

Microfiche 

Series. 


CIHM/ICMH 
Collection  de 
microfiches. 


Canadian  Institute  for  Historical  Microreproductions  /  Institut  Canadian  de  microreproductions  historiques 


8: 


THE  ELEMENTS  OE   VOCAL  HARMOXV 


oiK'ii  or  closn  liiiniioiiy;  wliii'h  iiu'iuIrt  is  at  the  bass;  if  in  any  case  the 
lifth  oi  tlie  tlnfid  is  at  tlie  l)ass,  give  the  rule  for  it.  Are  tliere  any  dis- 
sonant j)assin<f  tones?  sin<fle  or  doulile? 

The  rehitive  minor  of  V  is  1)  minor;  of  (J,  E  minor.  Tlien,  as  F  and 
G  are  related  to  (',  tlieir  relative  minors  must  also  he  ineluded  amonj(  the 
relations  of  C.  'I'herefore  we  have,  in  every  key,  a  group  of  three  major 
and  three  minor  scales  closely  lelated. 

In  the  following  table  these  six  scales  are  given^  taking  C  as  the  prin- 
cii)al;  also  the  dominant  seventh  chord  of  each  scale.  Observe  tlie  follow- 
ing facts  (which  are  of  great  iui[)ortance):  1st,  that  the  leading  tones  to 
four  of  the  related  seales  are  accidi  ntallii  ndm/  notes.  '2d,  that  the  acci- 
dentally raised  note  is  always  the  third  in  l!ie  dominant  chord.  3d,  that 
in  one  ehord  there  are  two  accidentally  raised  notes.  When  this  is  the 
case,  to  decide  which  is  the  third,  it  is  oidy  necessary  to  rcmendier  the 
order  in  which  sharjjs  and  Hats  occur  (see  '1  able  of  Signaturvs,  p.  70). 


C  Mnjor. 


The  one  lowered  note  (U''^  is  also  a  member  of  tlie  domitiant  chord  of 
the  key  to  which  it  belongs,  but  it  is  the  seventh,  not  the  third.  Oliserve, 
too,  that  the  roots  of  the  tonic  and  dominant  chords  of  all  these  related 
keys  are  found  in  the  scale  of  C. 


1 


iiMn 


I 


f  in  any  case  the 
I  re  tlic'ie  any  dis- 

Thcn,  as  F  and 
Indod  anionj(  tlie 
ip  of  three  major 

incf  C  as  the  prin- 
I)serv('  tlie  folh)\v- 

h'udini,'  tones  to 
2d,  tliat  the  acci- 

eliord.  3<1,  tliat 
When  this  is  the 
to  reniendicr  tlie 
urjs,  p.  TO). 


^ .  — 


^       !»<>       *'' 


-g^- 


-Z5- 


oniinant  chord  of 
tlurd.  Oliserve, 
all  these  related 


4 


#f 


Jl 


THE  MlXOli  SCALE 


8- 


No   1,  tonic  of  C,  and  dominant  with  lV-»  added  of  No.  4,  K. 

No.  'i  tonic  of  1)  minor,  relative  nunor  of  No.  4,  F;  ehanged  to  major 
and  seventh  added,  it  heeomes  dominant  of  No.  5,  (}. 

No  ;5  tonic  of  K  nunor,  relative  minor  of  No.  ;>,  (J;  chaii<,'i-d  to 
major  an.l  seventh  added,  it  becomes  dominant  of  No.  0,  A  minor,  relative 

nunor  of  C  .,,,,,  i 

No.  \  cannot  have  seventh  added,  because  it  would  belong  to  a  scale 

(^li!')  outside  of  the  group. 

No.  5,  tonic  of  (x,  and  dominant  of  C. 

No.  G,  tonic  of  A  minor,  relative  nunor  of  C,  No.  1 ;  ehanged  to 
major,  and  seventh  added,  it  becomes  dominant  of  No.  '2,  D  nunor,  relative 

minor  of  F,  No.  -i.  ,,,.1111 

No.  7,  ehanged  to  major  by  raising  third  and  iiith  and  seventh  adde<l, 

becomes  the  dominant  of  F  minor.  No.  2,  the  relative  minor  of  (i,  No.  T). 
The  student  should  construct  many  tables  like    the    following.      It  is 

the  best  way  to  gain  a  thorough  knowledge  of  the  relationshii)S  of  scales. 


Kky  E7. 

Sigiiatute  IP,  E\  A>.    Relative  minors. 

LeadiiiB  tones.  LcadiiiR  tones. 

\i)        D  C        1)2 


Related  (  A>        G 


m.ajor 
Bcale 


IS.  (B> 


aB 


F 
G 


I'-a 


Kkv  a. 

Signature  F-,  CS,  ClJ.  Relative  minors. 

Leading  tones.  LvadhiK  tones. 

A        oJt  y%        r4 


D 
£ 


B 


This  shows  tliat  four  degrees  of  the  scale  may  be  raised,  namely,  the 
iirst,  second,  fourth  and  iifth,  to  make  leading  tt.ues  to  related  keys. 

In  the  exercises  that  folh.w,  modulati..ns  are  made  into  all  of  the  related 
keys.  To  harmonize  the  raised  notes,  it  is  only  necssary  to  remember  that 
they  are  leading  t.mes,  an.l  must  be  thirds  in  the  .lominant  chord  of  the  key 
to  which  they  lead.  To  harmonize  a  lowered  note,  remember  that  it  must 
be  the  seventh  in  a  dominant  chor.l.  Harmonize  iirst  in  two,  then  in  three 
parts.  Read  over  the  directions  given  for  two-part  and  lhree-i>iirt  writnig. 
We  give  one  exercise  with  directions  as  t..  how  to  proceed.  Before  writing, 
analyze  the  examples  at  the  end  of  this  clmi.ter. 


84 


THE  ELEMENTS  OF   VOCAL   HARMOW 


e 


F- 


wMmi 


:_[:_Lr._ 


7^" 


"^ 
t 


^P- 


I 


No.  1,  loading  tone  to  I)  luliior;  relative  minor  of  F;  elionl.  A  Ci  I'.  (J. 

No.  2,  leading  tone  to  A  minor;  relative  minor  of  C;  chord,  K  (i?  IJ  1). 

No.  3,  leading  tone  to  (r  major;  chord,  1)  FS  A  ('. 

No.  4,  lowered  seventh  of  the  .scale;  nuust  be  seventh  in  a  dominant; 
cln)rd,  C  E  G  IP. 

Nos.  5  and  0  may  he  harmonized  as  sevenths  in  dominant  chords,  heeanse 
any  note  in  the  melody  may  he  the  seventh  of  a  dominant  chord  when  it  is 
followed  l)y  the  note  on  the  next  degree  helow,  except  the  third  of  the 
scale  luid  the  seventh  (nnless  it  is  lowered).  The  note  at  5  may  have 
the  chord  D  F:;  A  (':  that  at  0,  the  chord  K  (iS  IJ  I). 

No.  7,  leading  tone  to  E  minor;  relative  minor  of  (J ;  chord,  15  I)i  Fi  A. 
The  F  nuist  be  5  because  it  is  sharp  in  (J,  of  which  E  is  the  relative 
minor. 


"^    '> 


-ri 


0    • 


i 


]| 


^^Tiwn\ti[t^H\'^^n\i.\\ 


n 


i  t^  ■ 


Fy^-4^  '^~dTH"^    H  I  -I   =n  H  ^  L      ^    »  I  g  li^lfr^M-    I  i  t^-'II 


I/CA'K 


:ul:^ 


t- 


'F- 


UIZZD 


;  clionl.  A  Ci  E  (i. 
;  ilinnl,  i:(;?  IJ  J). 

iitli  ill  ii  (loiiiiiKUit ; 

lant  chords,  IxTause 
lit  chui'd  wlit'ii  it  is 
pt  tlie  t'liid  of  the 
lote  iit  5  may  liavu 

cliord,  IJDiFSA. 
li  E  is  the  ivlalivo 


^njjU  Ji 


H^VinM 


J] 


^^4-d- 


P  •  E_-L|j^^]| 


T//E  MINOR  SCALE 


<^5 


>.  vt-w^ 


?zi5..li_^i^_^L[^:^.:l^ 


Ct# 


•  -i 


:^ 


-^~ 


-:r- 


_#__rf_  * 


[-^-"-    = 

£0'-==' 


_t"|-:f:-r^ 


-f: 


ED 


— ■     *♦■-- 


f^"^!^    -  ff^.* 


ii__t:z:4i- 


=4 


3-    5». 


^iE^fElg^ 


i"iif]iiir3Mii[3in::D 


=^"^=1""^ 


^rp^^^^ 


-t=--     F-- 


EI01i:3^llI^H^d^'l 


53:^1:^:1 


:pL:^l^fl:£-F.I-?^ 


II 


[g^'rfj^^j^lgjri^^ 


I 


II  lill|IWMHhMW»»IWt»l' 


ifaate.*Mm>n»a&fiW>'*^-w^ 


•r" 


86 


77/ A-  ELlLUluVrS    OF   VOCAL   llARMOXY 


iti  •  f"  •  ji*    •    -  -  ru  i_-l  ^^  - , N-r- 


-»B-fC 


jIO 


niKi 


Kxmnplos  for  nnalysiH  :  — 

(iivo  the  iiiimii  !in<l  root  of  every  clionl;  if  it  is  a  (lominant,  stivtc  the  key, 

the  rchitioiiship  of  it  to  the  priiieipal  icey. 

(Jive  the  inversion ;   state  where  passing  tones  and  changing  notes  occur. 


^-F-f 


r 


.-1 


t;     ^ 


4--^ 


I 


g 


P!?J 


f^ 


f 


-5*- 


^.^iiEdEE^ra 


Lfc>      *  *T^?r :«_i^#    ;  b^— §?         •  !•    ,  «?^|^  N^V  S*:::^*  J 


>A-y 


iiiiint,  stfite  the  key, 
jiiig  notes  occur. 


4 


l-q -J— i— I 


<0        L-CjO- 

f    r 


r 


t_j_i — I.  J.. 


^^ 


D 


77/i?:  MlXO/i  SCALE 


87 


■-J^ 


Ei^j  '"^«=^*  I* 


« >n  I        ^.  -^ I     ^i 


T'T-fTy^ 


..X 


>  p 


N.  It. 


r  r-r   f     *      r 


N.  n.    Observe  the  three  contiguous  tones  sounded  together,     (i,  Sfventh ;  A,  root; 
15,  changing  note. 


■^^^m 


REVIEW 

1.  In  what  way  may  a  minor  seaU>  be  fonned  from  a  major  scale? 

2.  "Wliat  is  tlie  minor  scuU>  formed  in  this  way  calh'dV 

;}.  How  is  the  connection  between  these  two  sc:des  indicated? 

4.  What  determines  tlie  si;j;natnrc  of  a  minor  seale? 

ri.  What  is  the  simplest  form  of  minor  scale  called? 

fi.  Which  de<rree  is  raised  by  an  accidental  in  tiiis  scale? 

7.  Where  do  the  half  steps  lie  in  the  harmonic  minor  scale? 


f 


■  lih-'-'-''""-*^^-^**-'^ 


88 


THE  ELEMENTS  OE  VOCAL  HARMONY 


s.  AVliut  is  llie  intorviil  bt'twcen  sixlli  iiml  Kcvciitli? 

1».  llnw  iiKUiy  i)cifict  clionls  may  be  writh-n  in  Hie  iKinnonic  minor  BCiUe? 
On  wliieli  ili'iirees  are  tiiey? 

10.  How  does  the  clionl  on  tlie  liftii  beoonie  major? 

11.  Wiiat  Ivinil  of  cliordrt  are  on  Hie  aeeoiul,  tliiiil,  aiul  soveiitli? 

12.  llow  id  a  dimiiiislieil  interval  mailo? 
i;5.  llow  is  an  aujimeiited  interval  made? 

11.  Which  common  chord  contains  the  raised  seventh? 

ir..    Whieii  mcmbor  of  tliis  chord  is  it? 

IC.   To  wliat  kind  of  ciiord  may  tiic  spvcntii  be  added? 

17.  How  many  and  what  kind  of  scales  arc  found  in  a  related  group? 

18.  Do    any  of  tiie  roots  of  tiic  tonic  and  dominant  chords  of  t|ic  related 
{rronp  lie  outside  of  the  principal  scale? 

19.  tlivc  the  tonic  cii  )rds  of  the  key  of  C  and   its  major  relations.      Its 

minor  relations. 

20.  (live  the  dominant  chords  of  the  group,  supplying  the  accidentals. 

21.  Which  degrees  of  the  scale  may  be  raised  to  become  leading  tones  to 

related  keys?  . 

22.  Wiicn  may  a  note  in  the  melody  be  harmonized  as  the  seventh  m  a  domi- 
nant chord? 

2:5.    Which  degrees  of  the  scale  arc  exceptions  to  this  rule? 
21.    When  must  the  seventh  degree  be  harmonized  as  a  seventh? 


vy 


monk'  minor  soalc? 


veiitli? 


aU'd  group? 

lords  of  tlic  roluti'd 

lajor  relations.      Its 

c  accidontals. 

me  leading  tones  to 

ic  seventh  in  a  domi- 


iventh? 


OT///-/^  pm)GA'/-:ss/Lh\s  of  rin-:  domlxam  sevesth      S9 


CHAPTER   XV 

(mifc:U  PUOGRKSSIONS   OF   TIIH   DOMINANT  SHYKNTII   CIIOKl) 

TllK   dominaMt  seventh   clu.rd  is  unt  aluays    fnllmvod  by  th.  ...ni.. 
When  its  root  is  ut  tlii"  Imss  it  may  aseend  one  do-ree,  to  thu    not 
,.f  the  suhn.ediant  chord.      The  roiiuiining  niemhers  must  move  a«  wheu 
thu  tonic  chord  follows. 


No.  1,  dominant  seventh  chord  of  (',  fullowe.l  hy  snhn.ediant. 

Nos.  -2  and  :5,  same  chord  as  used  in  three  larts;  in  2  the  third,  *nd  m 

3  the  iifth  is  omitted.  ,      r    ii 

The   most  imyorlant   point   to  observe  is  that   tins   movement  of   tlu 

root  nay  only  take  ,lace  when  it  is  at  the  bass.  The  ront  ol  the  d..nun.nt 
ov  nth  of  a  niajor  key  n.ay  be  raise.l  chron.atie.lly,  thus  be.onuHg  the 
hl^Un  the  don,?nant  chord  of  its  rehuive  .niu-.r.     The  ^^^^^ 

to  the  root  of  the  relative  minor  domi.iant,  but  as  the  th.rd  *d  hfth  m  th. 

dominant  of  the  major  are  also  tl>e  iifth  and  scventl.  n.  tl.-l-».a       <jL 

the  relative  n.inor,  they  do  n.-t  move.     Tias  progression  .«ay  be  icNUsul, 

as  in  the  following  exumi)le. 

Hoot. 


Uiu.t.         ni.iiiinaiit    Doiuiuaut 
Domiiiuiit  C.    A  minor.  C. 


Since  it  is  not  necessary  that  the  root  be  at  the  l>ass  in  thi.s  pro,?re.si,.n, 
it  should  be  written  with  every  member  of  the  dominant  in  succussion  as 


«d&iA- w .'.  1;  i .  ;*VTl!/ !^. , .. 


90 


Till-:  ELEMENTS  OE  VOCAI.  llAKMOiW 


ii  Ikihh  and  as  a  iiirln<ly.     As  t\v..  of  tlu-  momlHTs  lu'l-mg  to  Loth  chords,  iv 
leap  may  l»u  made  lioiii  oiir  lo  lla;  nihcr. 

In  the  .-xaniplrs  foll(nviii.ir,  tlic  various  ways  in  wliidi  tliis  progirssi 
may  \w  used  in  tluvc-parL  writing  arc  given. 


'SSIOU 


N...  1,  the  lll'tli  hcing  (.iiiittcd  in  the  lirst  chord,  the  seventh  is  wanting 

in  tlic  second. 

No.  2,  the  tliird  is  omitted  in  tlie  first  chord. 

No.  X  the  ini(hlK'  voice  h-aps  from  tlio  third  of  the  first  cliord  to  the 
otlier  note  that  (h.es  not  move,  (this  is  the  most  clTective  arrangement  in 
tlirce  parts  luranse  the  seventh  is  present  in  hoth  chords'). 

No.  4,  Die  middle  voieo  leaj.s  from  the  lifth  of  the  lirst  chord  to  the 
other  stationary  note.     Write  these  in  every  possiljle  inversion. 


Sk(JUEn("k  of  Dominant  Sevkntii  Ciiouds 

As  the  third  in  tlie  .hmiinant  chord  is  the  loading  tone,  and  as  the 
K.a<ling  tone  chromatically  lowered  must  l)e  the  seventh  in  a  dominant 
<.l„.rd,'"it  follows  that  if  tiie  third  of  each  chord  is  lowered  chromatically 
instead  of  heing  made  to  ascend,  the  result  will  he  a  seciuence  of  domniant 
seventh  chords. 


n. 


-1^ 


«  9  a 

ii    =1-  l-*^3 


No.  1,  dominant  of  E;  its  third  is  DS;  lowered,  it  becomes  the  seventh 

(n:)in  ,  . 

N...  2,  dominant  of  A ;  its  third  is  Ci;  lowered,  it  becomes  the  seventh 

(r,:)in 


to  lintli  cIhiuIs,  u 
I  tliiH  progression 

!!i?  II 

fvi'iitli  is  wiiiiliiig 


first  clionl  In  tlio 
^•i'  arraiigt'iiionl  in 

tirst  chord  to  the 
srsion. 


{DS 

tone,  and  as  the 
ith  in  a  (h)nunant 
vred  chroniatically 
uenoo  of  dominant 


ccomcs  the  seventh 
cconies  the  seventh 


oniER  i'RocREssioys  or  riii:  no.\tix.\xr  siaiim ii 


91 


No.  :>,  dominant  III"  I);  i's  tliird  is  (  S;  lowered,  it  liccoincs  the  .siventii 
((';)in 

No.  4,  dominant  of  (i;  its  tliiid  is  KJ;  lowirfd,  it  Iieeomes  li.e  seventh 
(!•':)  in 

No.  r»,  dominant  of  C";  its  lliird  is  11;  loweri'd,  it  heeoiiu's  ilie  seventh 
(ID  in 

No.  »'»,  dominant  of  V\  if  the  seqnonee  \ver(>  eontiinied  it  wonhl  ^•o  oiit- 
si(U'  of  tlie  ri'ialed  <froM|>.  Ohserve  that  it  ('(tii^ists  of  all  the  doiiiiiiiinl 
seventh  chords  in  the  icluled  yiduii  of  ('. 

As  written  here,  the  ehoids  have  the  liftli  mid  root  alleiiiiitc] v  at  tlie 
hass.  They  may  also  have  tin  third  and  si'Venlh  alternately  at  the  ha.-s; 
or  every  chord  may  have  the  root  at  the  hass. 


1 


2  I 


J^._.  tL     l__J       J 


T)iniinisliC(l 
4    cliiivil. 


Diiiiinisticil 
clioril, 


&?<^       j:?-~r  5-=^^    1    2;^     -''     ::->     :-<    11 


O 


No.  1,  seventh  and  thii'd  alternate  at  hass. 

No.   "2,  roots  at  hass;  jvery  second  chord  has  the  root  donhled  and  tiie 

fifth  omitte(h 

No.  o,  fifth  and  root  at  hass,  in  three-part  writinn'. 

No.  4,  seventh  and  third  at  hass,  in  three-part  writing' (not  very  i^'ood 
on  aeeonnt  f>f  the  din)inishe<l  chords  with  iiflli  at  hass). 

No.  o,  I'oots  at  l)ass,  in  three  parts. 

This  scqncnce  shonld  never  he  continued  for  more  than  two  or  thive 
chords,  as  it  soon  sonnds  C(mimonplacc.  Of  course  the  last  ehonl  ni  tiie 
sequence  must  resolve. 

In  tlie  followiuf?  exami)les  all  the  ways  of  treatiiio'  tlie  domiuajit  seventh 
chord  are  illustrated.  The  first  two  are  analyzed;  tlu'  I'cst  are  left  for 
the  pupil  to  analyze. 


92 


/•///■;  /:/./:^//:x/^  <'/'  /<"--.'/.  //./am/cai' 


II 


-1» 


I       I  I 


.? 


r 


^  •    ">• 


Yf 


f 


•^'      3^' 


f 


TV 


c/ 


r^:^^ — I- X  -  a V- — '- -      *-    r    I     i        I 


f  '-"f- 


^\j---'\ — r —  --   r  1     f 


f5< 


J^_L..^- 


,  r 


:iu|'  U 


B 


J    .4-H 


^  r* 


I  I 


1  .       I 


I  J3    I    r    I 
8  I  3p       5^—3 


S^nr:" 


J4i.J 


n-i-m-s- 11 


OTJNCK  /'AOuA'JiSS/OXS  OF  THE  1>0ML\AM'  S/:t/:.\/^f         93 


^.  Z\^i'^ 


J  -> 


>  I  ■^  '■^  I   •*   *> 


i     I 


:^  =%  I  ^ 

I    i     r 


--^^ 


/» •» 


(  "i-v 


-J 


s? 


^     I 


D'-; 


C' 


'-!.    J 


I       I 


-A 


X     '- 


%\ 


!<>    '^ 


No.  '    A,  (Iniiiiiiaiit  nf  F,  sc.'oiid  iprnt^rivssioii. 

B,  (liiuiiiniiil  nl' (i,  tliiiil  iirn:;ivssi(in. 

C,  (Iniiiiiiiilit  ol'   A  iiiilini',  srcuiid  i»in!;ri'Ssi(>li. 

D,  (Idlllillillll  oi'    !■'.   lliilil   |iln^ivssinli. 

Nil.  2,  A,  tldiiiiiiaiit  01'  K  minor,  second  iiro,L;T('Shioii. 

B,  doiniiiiinl  ol' (',  lliird  ]>ro,L^T('ssi(.n. 

C,  •lominant  of  I),  tliiid  pfo.nrtssi.iii. 

D,  doniinanls  of  lO,  A,  D,  (i.  wiittm  in  si-jicn.'c. 
B,  (loniiniuit  of  (1,  sirond  iii'ogiv>siiin. 

REVIEW 

1.  Wl.al  pro-rrossiou  iiimv  I'c  given  to  u  dciiiiiiuul  stvuilli  fiioid  lu  addilion 

to  its  \in»iJ:it'ssion  lo  tiie  toiiif? 

2.  How  do  tile  iiiemlHTs  of  till' chord  inovi!? 
a.    Wliicli  niondicr  must  lu' at  tiio  liass? 

I  Wluil  is  tlie  tliird  i.mmvssion  llial  liic  doiniiianl  scvcntli  cimrd  may  liavc." 
r,'.    What  is  tlic  .notion  of  the  root?      Of  Ute  seventh?      Of  Hie  third  and 

fifth? 

().  ;May  tliis  pro<>ression  1)o  reversed? 

7.  Must  tlio  root  he  at  tlie  bass  in  tiiis  i.roores>ion? 

H.  3Iust  tiic  third  and  :iftli  always  be  stationary? 

"t  How  may  a  seiim-niv  of  ih)minant  seventli  ciuirds  l)e  made? 

ll)".  How  many  may  1)0  written  in  succession  witiiont  yettin-  outside  of  tlie 

related  !j:roni>? 

I I  Which  members  mav  alternate  as  bass  notes? 

VI.    Tf  this  se(,uence  is  written  with  the  roots  at  the  basn,  wliich  member  must 
be  doubled,  and  which  omitted  ill  every  alternate  chord? 


94 


THE  EJ.EMI-:\1S   OE   rOCAL   IlAJiMO.W 


CHAPTER  XVI 


Till-:   MKLODIC   MINOR   SCALE. 

TO  avoid  tlu-  k'ap  of  the  iuii^niu-nted  secdiid  l)ot\voon  tlio  sixth  and  raised 
scviMith  ill  till'  minor  suali'.  tlie  sixth  may  also  ho  raised  in  the 
aseendinn'  scale.  In  the  deseondinjf  scale  the  necessity  i'or  a  hall'  step 
ln'twecn  the  einhlh  and  seventh  is  not  i'elt,  therefore  the  seventh  need  not 
he  raised.  'I'liis  I'orm  of  minor  scale  is  eaUed  irnhniu;  because  the  raised 
sixth  and  natural  seventh  are  not  found  in  any  of  the  fourehords  that  may 
lie  made  in  the  minor  scale;  hence  they  nuist  either  be  used  as  passim^  tones 
(Chapter  VII),  or,  if  harmonized,  it  nuist  be  with  chords  borrowed  from 
some  related  kev. 


1.  the  natural  seventh  as  a  passinf^  tone  descending. 

2,  the  raised  sixth  as  a  passing  tojie  ascending. 

The  sixth  and  seventh  are  not  ahvays  raised  in  ascending,  nor  is  the 
seventh  always  natural  in  descending.  This  depends  on  two  circum- 
stances: 1st,  on  the  chord  that  aceompanie^,  the  passage;  id,  on  whether 
the  jiassa-v  ascends  all  the  way  from  the  liflh  to  the  eighth,  or  descends 
all  the  way  from  the  eighth  to  the  fifth. 


•y 


0  sixth  iuid  raised 
1)0  iiiiscd  in  tlit" 
y  i'or  a  liall'  step 
scvL'Utli  need  not 
KH'ause  till!  raised 
ir  chords  that  may 
d  as  [jassinjif  tones 
Is  borruwed  from 


ending,  nor  is  tho 

on   two   cirenm- 

■ ;  '2(1,  on  whetlier 

ighth,  or  descends 


Tonic. 


1 


THE  MELODIC  ML\OR  SCALE 


9S 


'fl 


No   1,  the  sixth  cannot  be  raised,  as  it  behnigs  to  the  chord,  D  F  A. 
No.  -2,    the   seventh  cannot   be   natural,   as  it  belongs  to  the  chor.l, 

^'*No!n,'thc  sixth  and  seventh  not  raised,  because  the  passage  does  not 

ascend  all  the  way  to  the  eighth.  .,     •     •      .1,. 

No.  4,  the  sixth  and   seventh    raise.l,   because    the   seventh    is    ui  the 

^'"'t;.  T^  possible  to  use  natural  sixth  and  seventh,  alth.mgh  it  causes 
(IS  (the  natural  seventh)  to  be  stn>ck  with  (ii  (nused  seventh). 

No.  0,  the  seventh  and  sixth  raised,  because  the  seventh   ^-l^  '&- 
the  <-hord,  and  the  sixth  is  raised  because  the  passage  does  not  descend 
all  the  way  from  the  eighth  to  the  hith.  ,     •   „    ,    , 

No.  I  natural  seventh  and  sixth,  l.eause  tho  natural  s.xth  belongs  to 

'"Xhel^'is  some  dilBcul.  .  in  using  the  sixth  and  seventh  of  the  nunor 
scale  but  it  will  disuppea;  if  these  oxau.ples  are  studied  and  transpo  d 
scale,     ui       M  }\        ,,,,-iieularh   the    vh^rd    that   accomi.auies    tho 

nto  other  scales.     Ol)ser\o  p.utuuiaii} 

mssacre  in  each  case.  Study  also  the  examples  that  follow,  then  xMite  U  c, 
ox^  On  three  parts).'  lu  the  m>t  throe  exercises  the  approp...U, 
chords  are  indicated.     Look  over  the  rules  for  passing  and  chang.ng  tones. 


4— 


r — ^^"'«:  r  r    r 


y6 


THE   EI.EMI.MS  OF    VOCM.   Jl.lh'MOW 


8        9 


\^Hpm^^^iV¥v-'^i 


Isl  meiisiin',  niisnl  scvfutli  Jiml  sixtli. 

oil  measure,  iiatur.il  seveiitli  and  sixth,  <leseeiiiliiii,'  ami  aseendiiig. 

.all  measure,  natural  sixth,  tiieii  raised  sixth  and  seventh. 

(!lh  measure  modulates  inln  tiie  related  key  (if  A  miiinr. 

The  relations  of  a  minor  key  are  those  related  to  its  relative  major; 
therefore  as  I)  minor  is  tiie  relative  minor  of  F,  its  ivluted  keys  arc  W  and 
('  major,  aiid  (i  and  A  minor. 

IHii  measure,  si'venlh  and  sixth  nuised. 

l(»th  measure,  seventh  and  sixtli  natui'al,  descend iiit^. 

llth  measure,  sixth  and  seventh  natural,  aseeiiding,  thou  raised. 


a  izf=t^ 


-t-:^ 


^^^ 


"    •    Hu 


\^  aX^: 


1.  tonie  chord;  I),  jiassinu;  tone. 

2,  suhdominant  ehord ;  I),  passing  tone. 


>xy 


^..•...#_.ij  .:^ 


^i 


12 


f 


r 


1 


111  asooiuVmg. 

Olltll. 

or. 

its  ivlativo  iniijor: 

[id  keys  arc  ir  aiul 


tlieii  raised. 


.1 


f'it5»0 


J 


ilI^IO 


T//K   MELODIC  MINOR  SCALE 


97 


3,  U.iiie,  ..raominaiit  clicnl;  ( "-,  l'assin:4  toiic. 

4.  .lominaiiU-hora;  C-aiul  K,  i.assii.t,'  l.mes. 
,0,  sulMluniiuaiit  .luml;  D,  i.assiiii;  loiii-. 

0,  iloiniuiUiL  ehonl;  Ci,  passing  tone. 

7,  Ionic  or  doniinanl. 

H,  sul)doniinant;  I)  and  15,  passing  t..ncs. 


El.  c_iZll3SIIIiX^— i^l  ^--O- J 


^:_L' 


1,  dominant  chord;  Fi,  passing  tone. 
•2,  tonic;  (i,  passing  lone. 
B,  snbdominant  chord;  (J,  passing  tone. 
4,  tonic,  or  chmiinant. 


•        0 


A- 


II 


g. 


-a_i .^ — ' ■         ' 


#-rr 


"•'  !:•• 


Lvli„_ ^ V — ' ■ 


^^JII^    '^*       '^^*     *     '     ^-^^^     ' 


u 


1,  tonic  chord;  IP,  passing  tone;  A,  snbdominant. 

2,  dominant;  AS,  i)assing  tone. 

;i,  snhdominant  chord;  15.  passing  tone. 
4,  same  as  1. 

.^),  tonic,  second  inversion;  A:  passing  tone. 
G,  domiuuut  cliord. 

\ 


98 


THE    i:i.i:.MhMS   OF   lOCAI.   IIAKMOXV 


t7 


4     * 


•   il 


r;^  I  • '  '- 


\AA1 


Cliniiiriiii;'  notf  witli  domiiiaiit  clionl. 


I 


%V_r 


t/ 


y  i-;;*^^^-J    --    i-i-i-iL5.Bi    #J    ^:^JI 


F|^ii^^-.rs  I  ^v^:\ij^r^i 


C'liaiigiiig  note  sulnloiiiinaiit. 


I-   *- 


1 


mi-t^^iimmMMiM:^^^ 


iSi^s^iiiMii 


r-. 


t=r 


fef 


-^--- 


11 


E&i:iiS:],*r5i 


ilii_i-i- 


»•?•  • 


;  _« — K 


aJ^ 


Eg^i 


i^^3^^!SI: 


J  J 


izZCl^Il^  .J-^-ll 


1 


\]' 


zA     LJ:— f.  J 

\\\i\\  iloiiiiMaiil  clionl. 


.if-=Cfl 


p- 


75?Tf 


1 


^.-i- 

f-- 


11 


LiJ:j^.i  ^  •-! 


Il3T^ll 


77/ A'   MELODIC  Ml.Wli  SCALE 


99 


REVIEW 

1      Wliy  is  the  sixtliof  tlio  minor  scalo  niist'il? 

,>!    Wi.y  is  it  not  noeessary  to  niisc  lUc  .evcnll.  uiul  .ixlii  in  ti.e  .U-M-en.l.i.;4 

HCUk'  ? 

a.    Wliiit  is  this  form  of  minor  scale  eiiUeil? 

■J.    Whv  is  it  M.  calU'dr 

;,.    11.,;  must  tl.o..  do^nves  be  troalcd  if  tl.oy  arc  not  l.arn.on./.cd  by  .l.o.d^ 

from  related  scales? 

G.    ri>oii  wl.Ht  docs  the  raising  or  not  raisin-  of  these  dct,'rccs  dci.end. 

Xm  .  K.  -  TluTc  is  a  for,,,  of  „,i„or  s.ale  „se,l  by  the  ..Me,-  writ.M-s,  esi-eeially  by  Hael,, 
,,„„,.  ,,li;.,l  ,1,..  lla.h  ^b„..,•  Scale.  i„  Nvhieh  the  sixth  a„.l  Mvenlh  a.e  ,-ais...l  both  u.  as.-e,,.!- 

i,„  a.,.l  de..e.,.li,„;  se,,,.e,„ly,  this  seale  is  .lis,i„,ai>he.l  fn..,,  ,    e  -aa,,.    -y  o,    y  one 

.l.::.n.e,  uamelv.  the  thbd.     Tl,e,v  is  a  passa,.'  in  one  ot   the  .M.n.s  ,„  Uan.lel  s       d,  p,..h 
i„  ,l.e  bass  soio.  ••  Ko,-  He  is  like  a  ■vtiner's  li,v  "  (seeon.l  ,.art  ot  •'  \\  ho  .nay  abale  the  day 
of  His  con.ing-),  fon.tded  on  ti,is  s..ale.     It  is  so  diiruail  .hat  it  is  ,a,ely  sun,'  vv.t  ,  al.so- 
l,.toeo.Tectness.oNvi„,^Molhe  nata,-al  tendency  to  .sing  the  descendn.g  mmor  «calc  with 
lowered  seventh  and  sixth. 


t"«fa 


.,~ttj!.UtiS.diX-"-^'' 


f  <r 


ICO 


THE   El.EMKXTS  OF    VOCAl.    1 1 A  R.\ti)\  V 


CIIAPTEK*    XVTI 

FOlK-rAKT    IIAKMONY 
Co.M.MON   (*Ilol;i»s   IN    l'(iri:    PAKTS 

IF  till'  ]irt'rf(liiiL,'  rliaiitcis  iiiivc  Itccii  ihoronj^lily  iiiustcrcd.  the  tliaii.LC(' 
t'l'oiii  tlirt'c-iiiirt  In  l'inir-])iirl  writiiii,'  will  iiol  iiicscnt  many  (lillicultics. 
As  nmsic  is  largely  iiiadc  up  ol'  ((iiiiiiuni  clmids,  and  as  the  cdiiiiikhi 
chord  consists  of  tlircc  sonmls,  it,  is  evident  that  one  of  these  sounds  iiuist 
he  dii|ilicatcil  to  make  ii  fourth  i)ait.  In  the  f.illowin;^'  cxaMi]ile  uc  _i,nv<j 
the  chord  ('  I'M  J  in  every  form  in  which  it  is  possihlc  to  write  it  with  the 
loot  C  at  the  hass. 


A  1 


1      B  1 


a-.-^-.a- 


'M  J 


I 


w^-  -- 

L) 


:?       1 


ii        0 


b) 


E--y-i)is 


7    Cl        U       W        1 

_\    I  -5.     ^. 


."^A   I        I 


t=: 


M- 


I] 


r  -'r — r-  r~  r 


II 


f^)  ^/ 1    /  t;  e   ;^/ 

r    r' -r^  r      r    r  -r  -  r  ^  i 

A.  Hoot  at  the  hass  and  at  the  top;  a  chord  written  this  way  is  said 
to  he  in  the  Ocdirr  position. 

1,  close  harmony;  "J.  open  harmony. 

15,  open  harmony ;  lifth  omitted,  root  occurrini,' three  times. 
4,  ojKMi  I'.armony;  not  a  vi'ry  j;o(id  arrangement,  tln'  f<ii'>r  and  <ilto 
heinjf  more  than  an  octave  apart. 
B.    Uoot  at  the  iiass,  and  third  at  the  top.     A  I'hoid  wiittcn  this  way  is 
said  to  he  in  the  Tifrrr  position. 

1,  close  harmony,  -,  open  harmony,  inot  douhlcd;  :?,  open  harmony, 
lifth  douhlcd. 


OM' 


istcrcd.   the    tli;m.LC(' 
it  iiKiiiy  dillicultii's. 

1111(1    ilS    tilt'    CDlUlllnll 

tlu'sc  sdiiiids  must 
11^  i'\aiii]il('  \vi'  nive 
to  wrilf  it  with  the 


I       2       ;j       4       5 


-<f 


J- 1/ 


E) 


.■s- 


11 


ti'ii  this  wav  is  said 


tlii'oo  times, 
t,  tln'  ii  ivn-  and  alto 

il  written  this  way  is 

d  ;  ;?,  open  harmony, 


roUli-rAHT  llAKMOXY 


lOI 


4,  open  hannonv.  root  donhled;  A,  the  same;  ..,  ..jK^n  harm.my.     unl 
.loul.led;  T,  oi-"  I'^HMiony,  root  and  third  doul.le.l    hith  omitted 
C.    !{oot  at   the  hass.  lifth  at   the  top-      A  ehord  written  tins  way  >s  sunl 

to  he  in  tiie   '.>'"'/''   position.  .    i      i  i    i 

1,  ..h.:  harn.ony,  •>,  open  liarmony;  \  open  harmony;  root  donhled 

in  all  tliret>. 
4,  tilth  donhle.l:  ."i,  same  as  "2;  upper  voi.'es  an  oetave  lower. 
r.uunl:.      When  the  root   is  the  hass,   the  root  is  the  hest  n.en.b M"  to 
,..p';,;  next,  the  lif.h;  h,s,,  the  third.     Speeial  ndes  wdl    he  ,nven  on- 
(•(•rniuL'  the  doiihlini;'  ol'  the  third.  .      ,       ,  ,  i  > 

Write  the  followin,^'  eli..rds  in  all  the  ways  given  m  the  ;d...ve  oxampl. 


m- 


^    I 


^ 


I 


I 


_« g^ 


1 


ronr-part  hurmonv  n,ay  h."  written  all  in  .^lose,  or  all  ui  open  hannon^ 
Open  han.u.ny  is  nsmd  when  writing  for  a  .piivrtet,  or  -ZT^jL       m 
voices;  .•lose  harmonv   when   writing    for   the    p.ano.      J  us   heing     nn  h 
elsh.r  than  open  hannony,  we  l>egin  with  it,  writing  the  ba.ss  onl^  on  the 
lower  staff,  the;  three  remaining  parts  on  the  upper  stall. 

Sf(VESSI..NS   <.K   COMMON    ClK.lU.S    WITH    KOOTS    AS    UaSS    XoTtCS 

The  Arst  and  most  important  rule  to  observe  is  that  ^^^/^^^^ 
never  appear  in  sne.ession  in  the  same  p..sit,on,  as  the  result  will 

•o  sue     ssive  liflhs  and  octaves  between  the  bass  and  the  upper  pa.t.  wdl 


twi 
apiiear. 


1    8 
>5~ 


■"■'X 


^J 


--['t 


\'>l 


2  3  3 


_^£jJ' 


- /^\ 


^3' 


3  .*( 


Ml 


V  n 


-r^tartij 


102 


Tnr:  elemexts  oe  vocal  iiarmoxy 


No.  1,  tlic  clioids  liotli  ill  the  ochivi'  ])()sitiiiii ;  tin-  succt'ssivc  (ictiivcs 
ncciir  lu'twcfil  llu-  liist  vitict' iiiid  iIil'  hiiss;  tin'  siicii'ssivc  lil'llis.  ln't\V('cii 
llic  Sfcoiid  vtiicc  iiiul  the  liiiss. 

No.  "J,  liotli  ill  till'  lii'icc!  position;  netiivos  lit'lwx'oii  .sreoiid  voico  and 
Iiiiss;  lit'tlis  Iit'twct'ii  tliii'd  voice  and  hass. 

No.  ;>,  liotli  ill  tilt'  quint  iiosilioii;  octavos  lictwci'ii  third  voice  and  bass; 
til'tlis  hetweeii  first  voice  and  Itass,  also  lietweeii  first  and  tliiid  voices. 

'I'liercl'ore,  if  a  chord  is  in  the  octavo  position,  the  next  chord  must  ho 
ill  tlie  tierce  or  (|uint  position. 

If  a  chord  is  in  the  tierco  iiosition,  the  next  must  ho  in  the  ociave  or 
(|uiiil  position. 

Jf  ii  chord  is  in  the  (piint  imsition,  the  next  must  he  in  the  tierco  or 
octave  position. 

Uoinemher  the  rule  ahout  contrary  motion;  it  is  particularly  dosirahlc 
\vhon  the  bass  moves  one  di'Mice  up  or  down. 


8         o      ."j       ;i        5      :'.       h         ;i       8       .j         8  3         5        3         8 

The  figures  iiru  to  iiidiiMk'  tfio  iiositioiis  in  wiiicii  tiu'  clionls  aru  to  \w  wiittcii. 


^- 


-d-n- 


5       8 


3       5         3 


x^T  rg 


■^-j-T-3- 


-H- 


11 


8       5  8       5         3       5  8       5        3 


m  e  ;^i  e^  I  ':^^  I  ?  TiiH  f  f^f£^^^ 


3      5     3      5       8      3     5     8      3       5      8 


3     8      3 


We  li'avo  tlio  clioipo  of  positions  to  tin-  pupil  in  tlio  voinaiiiiiicT  fxprcisos. 

•X      r,      5      K       w  "  •  -^- 


3      5 


5      3 


.VI' 


succt'ssivf  oftiivcs 
ivc  lil'llis.  lii'tuccii 

I  Ht'euiid  voico  and 

ird  voioo  and  bass; 

third  viiiccs. 

i('\t  clidrd  must  l)o 

1)0  in  tlie  oclave  or 

be  in  tbc  ticrco  or 

rticuliuly  desiniblo 


3       n      3       « 

a  U)  Ix-'  wiittt'ii. 


■=d-- 


H 


J  8       5        3 


5     3     8;$       5 


xorcisos. 


D 


-1^- 


FOUIi-l'ART  IIARM0N\ ' 


103 


^v « 1  ^rn-r jgi  ^jr^-  tjj--rv7-i-T  -|] 


K^  j!£?if±^T'FFxri^ii[E^  :i  ;d 


If  till'  chords  arc  to  bo  written  bch)\v  a  inchuly,  it  is  only  necessary  to 
rcnie  bcr  that  every  note  in  the  melody  may  be  the  mot,  third,  or  liltli  of 
some  chord  in  the  scale.  'I'lms,  if  the  note  in  the  melndy  is  (',  it  may 
bo  the  root  of  ("  E  (i,  and  the  chord  will  be  in  the  (utave  pusition;  or  it 

maybe  the  third  in  A  C  E,  and  tho  chord  will  be  in  the  tierce  ^losition; 

or  it  may  be  fdth  in  the  chord  of  V  A  C,  and  the  chord  will  be  in  the  quint 

position.     Tims:  — 


IvOdt. 


€-\ 


m 


^. 


'I'liinl. 

— # 


:^^ir/ 


Fifth. 


-1^: 


0/ 


3 


There  is  one  restriction;  <lo  not  use  the  dimini.shed  chord  on  the  lead- 
ing tone  at  present. 

Harmonize  the  following  notes,  fir.st  in  the  octave,  then  tierce,  then  (piint 
positions.  First  fnid  the  root  and  write  it  in  the  bass.  Remember  that 
as  there  is  one  note  that  cannf.t  be  a  root,  there  must  bo  one  that  cannot 
bi'  a  third,  and  one  that  cannot  be  a  lifth. 


-<5r 


ini  injn^f^  II 


Write  the  chords  under  the  melodies  that  follow,  beginning  and  ending 
with  the  tonic  chord.  When  a  note  is  repeated,  change  the  chord  luider  it. 
'I'he  jiositions  are  indicated  in  the  iirst  exercises  by  tho  iigures  8,  3,  f) 
over  the  notes.     Write  the  runt  in  the  bass^f/'s^ 


J 


'  T- 


IU4 


////•;   l.l.l.MI.MS   Ol-    roc. I/.   /I.IKMO.W 


H     ,-)    ;»     H     :;    :.    :i    s    :; 


;i    s    ;j    5     3      0    »    8    b    5      :l 


^■" 


\^"['  Mr rirh I* ''^feTfiPWIMI 


H    r.      H      T)      :»      ^   = 


i        5       3       83       83       535 


«7 


'x 


•J  I  ?_:£T£E£T!^T?-.-  r  I 


^iTTiLii:roit  ^ixiTOT^in  ^  ii 


[|^x^i1jiiiAmIf:1I.£:^] 


o,«     ■?•-•   I  'S' 


•II 


-.   1-|      ■>         V         -5^        -5^    I     -> 

.;.?    •+    ^^ — [_- 1 —  — 


d     a~  fii. 


m^ 


D 


Tlit'iv  iU'c  some  successions  (Imt  do  not  soiiml  well  as  a  general  tliiii,t,'. 
They  are  not  to  !)e  understood  as  wioni;-  or  i'orl)idden,  Itut  oidy  as  not 
always  a.i;reealile;  also,  this  remark  oidy  ajuilies  to  their  use  with  their 
roots  at  the  bass.      'I'hey  are  the  I'ollowini,': — 

From  a  minor  chord  to  the  chord  a  minor  thiid  ahove.      Ex.  1. 

The  ri'verso  of  thi:;  is  one  of  the  most  a.n'reealile  proLjressions. 

The  minor  elw.rds  on  the  second  and  third  of  the  scale  should  never  lie 
written  in  succession. 

The  dominant  does  not  sound  well  after  the  suhdominant,  unless  the 
suhdominant  is  in  the  octave,  and  the  dominant  in  the  quint  or  tierce 
position.     Ex.   -. 


71 


\  )■ 


a  i   s  it    :) 


m     0 


^ 


II 


a   5 


]r  -rl 


r   I.-       1-. 


i-\i 


II 


I'll 


ii^lklJ 


as  a  general  tliinj,'. 
11,  Itut  (iiily  as  not 
hi'ii'  use  with  tlifir 


Ex.  1. 


I'CssKtns. 


U'  shnulil  never  lie 


Diuiiiaiit,  unless  the 
the  quint  or  tierce 


JVl  A'-ZMA'/'  JlAh'MOAV 


105 


>:> 


i. 

(- 

,_4 J 


-«- 


[x:^ir  n 


II 
II 


These    reni,irl<s   <h.  not  apiily  when  the  fiist  elmnl  eii.ls   a    i.linise    or 
se.'tion  (^Chai-tcr  II),  unil  the  iollowin-  ehnnl  Ik-Iiih  ihi-  neW  i-hnise  or 


seetion. 

A  sn 


ecession  o 


f  eliords  with  the  roots  nt    tin' 


iiiuv  lie  ehan,i,'e(l   to  open   harmony  v<'ry  easily, 


ll 


in  (lose  hannoiiy. 
ary   ti 


IS    nlllV    lieee 


nioVe  the  mi.taie  note  oi  the  upper  three  ih.wn  an  oelave,   u riling  it  oil 
the   Imss  Ktal'l'. 


After  writing  the  previous  exercises 


in 


close  harmony,  write  them  out  in 


this  way, 


r* 


l()6 


////;  i.i.i:Mi:\rs  or  roc.i/.  /iahmoxv 


REVIEW 

1.    lliiw  is  f(iiii-|i;iil  liannniiy  iiiiulc  fioin  rniiiiiioii  chonls? 
;.'.    Wliii'li  is  till-    I'l^l  iuc'IuIh  r  It)  tliipHfali'  wiu'ii  llie  root  is  at  llio  bass? 
N.\t   Im'-i? 

;'..    Will  II  is  open  liariiioiiy  ^rcncmlly  iiscd? 

1.    \\  licii  wi'iliiij;  rlosi'  liiiiiiiniiy.  iiow  many  piirts  mv  on  cjuli  sl:ilT? 

Ti.    \\'li:il  is  tilt"  iiiKst  iiniioitaiit  rule  to  !«'  olisorvi'il  in  wriliii};  Hiioi't'ssions  t)l' 

(•ninllldll  rlionls  uilli  till'  roots  ill  lln'  iiilss'r 

C.  What  ii'snits  lioni  writing  two  clionls  in  llio  samo  position? 

7.  \\  lull  iscdiitraiy  motion  fspccially  to  l>o  oliMivcdi' 

."<.  What  nifMiluT  of  a  chonl  may  v\\'\\  note  in  the  melody  lit-? 

I>.  Which  ilcjii'i' of  till-  scalf  caniK't  lie  a  root?     Which  cannot  lie  a  third? 

Which  cannot   he  a  lifth? 

IC.  What  siicci'ssinn>  nf  chonls  do  not,  as  a  iisnal  tliin<r.  Koiiiid  well? 

I  1.  How  may  the  dominant  be  written  after  the  siibdoniiiiaiit? 
r.'.    How  may  a  Mucession  of  chonls  witii  the  roots  al  the  bass,  in  close  liar- 

mony.  be  chani:i'd  to  open  harmony? 

l.'i.  How  many  [larts  are  written  on  each  staff  in  open  liarnioiiy? 

Xoi  r,       A  sciire  (viical)  wiiiti'ii  in  this  way  is  called  a  Short  Seure;  whin  a  staff  is 
llsiil  fur  la.h  Vdiic  it  is  called  Open  S'olC. 


^■■1 


VJ' 


I? 

oul  is  al  tlio  buHH? 


I'iU'li  shill? 

V\[\n\i  HUtTC'SSiollS  of 

^itioii? 

(ly  lif? 

Ii  ciiiiiiot  111'  !i  lliinl? 

sound  wi'll? 
laiit? 
K>  liass,  in  close  Imr- 

rnion  y  ? 

Si'oif;  wlii'ii  a  stall'  is 


/VA'Sr  AM)  A7:C<K\7i  /X17:/!S/0.\S  /.\-  /VO'A'  J'AN/S 


107 


CIlAl'TKU   XVIII 


FIHSr  AM)  SIXOM)  IN VKKSIONS  IN   lOl  U  PAIM'S 


A 

1 


B 


(5  ^    ?—- 


1 


-5         ^         ^SJ      ''■' 
-V  O  K0      rcj 


9      '^      9 

i0      c>      <> 


I 


C 

1       '.'      :» 


^ 


:ja~:~9':    9.\j9r: 


99 


.«-..-»- 


-» 


II 


T 


II K  iiliovo  is  tlic  cliord  of  C,  wiOi  tlic  tliinl,  K,  used  iis  ii  liuss.     Wlicii 
ii  (JK    (I  is  liiiis  writtfii,  it  is  said  to  1k'  in  its  liist  iiivi;rsioii. 

A,  with  tlin  root  lit  till!  top. 

1,  root  doiddcd. 
Ii,  lit'tli  doiihl.'d. 
;{,  root  doiiltlt'd  !it  unison  l)y  two  \difc's  coiiiiiij,'  toijfcllici'  on  tlic 

satno  sound. 
4,  liftli  douhli'd  in  tlic  same  way. 
T),  tliird  douhlcd.     (Sec  sin-cial  I'ulo,  p.  *)('».) 

B,  witli  tlio  douhlcd  tliird  at  top.     (Si'c  siu'cial  rule.) 

1,  root  doubled,  lil'tli  oniittcd. 

2,  (il'tli  doulili'd,  root  f)niittcd. 

.'},  root  and  (iftli  present,  close  liarniony. 
4,  same,  open  liurnioiiy. 

C,  with  the  fifth  at  the  top. 

1,  lifth  doubled. 

2,  root  doubled. 

3,  third  doubled.     (See  special  rule.) 

4,  root  doubled  at  unison. 

5,  fifth  doubled  at  unison. 


'Cyr 


loS 


yy/Zs'  j:i.i:mi:.\ts  or  roc/ir.  nAR.^roxv 


WliiMi  till'  tliinl  is  used  as  a  l)ass,  tin'  fiftli  is  as  f^'ood  as  tlio  mot  to 

doulilf. 

Wiite  the  fi)ll(»\vi!iL,'  chords  in  all  the  ways  given  in  the  above  exiunple. 


B 


1^ 


%       %   ^_Z^ 


•5        '^c> 


|] 


The  notes  iirr  iiiavkcil  tliat  aiv  In  Ijc  thirds  in  tli.'  lirsf  tiirco  I'xcrcisos. 


^eEt:ye_ 


-i 


^^^^M^t^  \^  ^^ ..  Sl] 


3 


5 


i^ 


^ 


* — • 


D 


3  3 


:■•=»  I  3=^^ 


'='J^- 


ilgE^pilD 


lli'nionilxT  tliai,  the  loadiiii;'  (one  may  not  bo  a  root. 


:-=]- 


^^-^^.ir^-^^3 1- 


ir=:rr=j" 


Ri'nienilioi'  that  tho  rn/.vfr/  imti's  must  ho  /A//vA<. 


131.^ 


I-  - -t  ■ " -    , 


:=] 


J 


I 


hVV 


()( 


1(1  as  tlio  I'lKtt  to 


le  above  exiunple. 


crcisps. 


alg:^ 


■6 


s> 


n 


=Hm^3i 


-tMS: 


iifrn 


::=] 


:r  "1^- 


:ji 


i 


/■VA'^v  j-w-*  SAW.VD  7.vrhws/o.ys  /.v  J'Vr/c  pants 


IC)() 


^^Vf7 


5'' 


'   =1 


-r::-=) 


0 


^f^v  "^- 1 .  II 

: U  -  _    ,-  I  -"11 


Tlu'  lirst  three  i'X(.'ivi:,i'S  liavc  the  haniKHiy  indicated. 

It  is  pdssihle  to  write  two  ehnids  iii  sueeessioii  iu  the  tierce  ]insitioii  liy 
douhliii!,'  the  tliird  ol'  one  of  them;  in  a  dcxniKHun  passanf  dnul.le  the  thud 
of  the  lirst  chord;  in  an  «.Sfr/u/</(^  passage  doul)le  the  third  of  the  second 
Kx.  1. 


:.  1. 

It  is  possil)le  to  write  several  chords  in  tins  way  when  the  notes  alte 

nately  ascend  and  descend.     Kx.  -. 


n 

D 


F-" 


!=:p 


Ji^irEi^jni 


S^.ii_r-tt 


1.  Tonic,  1st  iiiv(T>i(in.  2.  Dominant,  1st  iiiwrsioii.  :5.  Sululominanl,  l.->t  inwr.-iim. 
4.  Dominant,  1st  invcision.  .").  'i'oiiif,  Isl  inversion.  0.  Tonic,  Isl  invcr.-iou,  7.  Super- 
tonic.  1st  invci.sion. 

AVlieu  the  raised  note  (:i(l)  is  in  the  melody,  the  root  must  I'c  at  the  l>ass. 


1st  iuv. 
(J 


1st  iiiv.     1st  inv.    I.-t  iuv.  1st  iuv. 

D  C  15  F 


:;« 


I 


^w 


I  lO 


yy//-;  jclla/ea'/s  of  vocal  iiarmow 


■^_  i  '^'z^'-\tr-tj:^'/-^ 


tj 


T  >- 

-He: 


■•-—§0- 


r:-^-4^J-p-:::£EELJ:-:v^Ei 


l^t  illV. 

u 


1st  iiiv. 
U 


1st  iiiv.  1st  iuv. 

Ci  C 


Ist  inv. 
1) 


Isl  iiiv. 

i; 


j>  J. 


\»t  inv 
1) 


^t-^rr^f-r^^^TW^ 


f  ~'Z-.  ^giziiiiij^ir^z^i 


-tzi 


D 


H  T^^tm^W- 1 .;  .>  :^^rS-Eii,0 


3     3 


i-^^0;igggI^l^^g^F:|-^^Mr]] 


3        3 


3^ 


i'=jjx^i:i3?iu^j 


3     3 


iLf]^ 


-r1 


Jl 


TiiK  Secoxh  Invki;siox  i\  Foi'ii  Parts 


'I'ho  rules  here  given  are  an  addition  to  those  given  on  p.  A^,  in  three- 
part  writing. 

'I'lie  lil'th  is  the  best  member  to  d()ul)lo  in  the  second  inversion  (see 
No.  1 )  in  chise  harmony. 

No.  2,  same  in  opt>n  harmony. 

'i'lie  root  is  tlie  next  best  member  to  double  in  the  seeond  inversion,  No.  3. 

'I'he  next  Itcst  is  tlie  third.  No.  4. 

No.  ')  may  be  used:  it  gives  (ho  effi'i-t  of  a  second  inversion,  although 
the  rout  is  omitted  and  the  lifth  occurs  three  times. 


I 


V)- 


lil  inv.  li>t  iiiv. 

I)  K 


id 


tz:= 


?1?1 


riS^^O 


•  * 


3     3 

=1- 


'T^ 


-r1 


<>  -     vr 


ITS 

on  p.  53,  in  tlircc- 
^ml  inversion  (see 

id  inversion,  No.  3. 
nversion,  althongli 


T 


F/A'S7-  AA7)  SL'COXD  /AFEKS/O.VS  IX  FOC'R   PAKTS  i  i  I 


_^__^^4^-J 


s 

15* 


0-— ' 


r— r 


t=^ 


-::.J- 


I     I5T    H 

Llj  It  ix^n 


Ri:CATlTULAT[ON    OK    Ul'LES    FOU   TlIK    UsK   (»K   SkCOM)    iNVKKSlnNS 

If  the  second  inversion  is  a  tonic  clionl,  it  is  ^vncrally  followed  by  tlie 
dominant  chord,  No.  1.  Any  chord  in  ihc  scale  may  precede  it.  If  the 
second  inversion  is  a  subdominant  chord,  it  must  have  the  tonu^  chord 
before  it  with  the  root  at  the  bass,  and  generally  aficr  it  also,  with  the 
root  at  the  bass.     No.  2. 

If  the  second  inversion  is  a  dominant  chord,  it  must  have  tlie  tonic 
chord  before  it,  tlie  root  at  the  bass;  and  after  it,  the  third  at  the  bass; 
or  this  may  be  revei-sed.     No.  3. 

If  the  second  inversion  is  a  tonic,  or  subdominant  chord,  it  may  be 
followed  by  any  chord  with  the  same  l«iss  note,  or  with  a  bass  note  one 
degree  above  or  below  that  of  the  second  inversion.     No.  4. 

'^If  the  second  inversion  is  a  tonic  chord,  it  may  be  followed   by   the 
first  inversion  of  the  same  chord.     No.  5. 


^-J- 


-^— 


J^ 


_<»— , 


O  ^  ^ 


-4 


P 


I  12 


THE   F.I.EM  I  :.\TS   OE    IVC.I/.   J/ARMOXV 


_n       J     J     J        _>5  -,^-, 1 — ^-_4     -| — l-o  ^  ,  ^ >j,-| j— 711 

X  ;J  ^    '::.    -sr  Li    V    i^    r    r   z\\ ''<  -d  zx\  "",  >^  i  \  C    &    ^    :     7    ":  11 

1 


ri  :tj-=i-|  n  -ri  --=1  r=i  =^  -=i  "rt  -^  - 


. «  _  ^'    «?._  15'  7  ^  \^  :-G>^/s 


\  f 


miiij^r^j} 


^2  e 

.^.2-  :^ 


+ 

A 


!^ 


E 


:;i-r=1 


D 


r~  r 


p 


-*5- 


IHEil^lili^l 


A  and  B,  No.  1,  are  IkkI,  bi-oauso  ])iiralU'l  fifths  occur  between  the  first 
and  third  voices.  'J'licse  may  bo  avoided  by  writinjf  one  of  the  chords  iii 
ojK'n  harmony,  as  at  C  and  D. 

Ko.  o.    Tills  successicin  sounds  best  when  written  as  at  A  and  B. 

Mo.  4.    A  is  ])cst,  B  next,  C  next,  D  not  satisfactory. 

A  few  ad(Utional  clmrds  will  be  i^nvcn  that  may  follow  these  second 
inversions,  when  we  get  the  chords  of  the  rehited  group  in  full. 


REVIEW 

1.  What  is  nioant  by  inversion?    "What  by  first  inversion? 

2.  AVIiich  inombcrs  of  the  ohonl  may  l>o  donl>lo(l  in  this  inversion? 

3.  Is  there  anv  choice  lutween  the  root  and  the  liftli? 


oxy 


Xy        -S'    I   _-: 


-n 


">     X,    <>  \  ,     ^     '> 


■5    -5;    'S'  I  <5 «-:_  'S' 


>  :8:    ^    s  5   ^ 


II 

D 

n 


y.VA'.V/-  .jay;  5Aa).\7>  IXVERSIOXS  in  four  J'ARIS  113 


4.  Il.nv  iiK.y  two  chords  bo  writU-n  in  siicrossion  in  ti.e  tioirc  position.^ 

,-,!  ll,,vv  n.iiv  si'ViTal  olicnls  be  written  sueceissively  in  tliis  wuy? 

C.  \\  hat  is  "meant  by  tiie  seeoiid  inversion  of  si  eiionl? 

7.  Whieli  is  tiic  best  member  to  (lui)licale?     Wiiicli  next? 

s.  (live  the  rules  ahviuly  jriven  for  tlic  use  of  second  inversions. 

'»  (;ive  tlie  rule  for  the  second  inversion  of  a  dominant  chord. 

10.  In  addition  to  the  rules  before  givcu,  ^^■bat  may  follow  the  scc.nd  mver- 

sion  of  a  tonic  or  sul»donnnant? 


^i-^ 


U^ 


D 


^ — ^„.13| 1_.  11 

ur  between  the  first 
jue  of  the  chords  iii 


iU  A  and  B. 

follow  these   second 
>  in  full. 


i 


\ 


on : 


inversion? 


T* 


mma 


"4 


77//-;  i'/j-:m/:\!s  of  Vi-^cir.  /f.iAwrnxv 


CHAPTER   XIX 

THE   CilOUl)   OK   DOMINANT   SKVKNTII 
In  I'\»iit  TAirrs 

WVj  lmv(>  iili't'iuly  ^t;ivoii  (CliapU'r  XV)  tin;  (loniiimnt  scvi'iilh  climd 
unci  its  iii'd^ivssioiis.  in  tliis  cliajjU'r  \vt'  will  ('(uni)!!'!*'  tlii.s  siih- 
ject  by  givJTiLf  tlic  iloiuiininl  scveiilli  chord  in  four  jiarts  —  willi  iUs  iir(i<,'ivs- 
sinns  —  in  cvorv  p<)ssil)li'  position  and  inviTsioii,  in  closo  and  opi'ii  harmony. 
This  I'xanipio  sliuuld  l»o  written  in  all  keys  until  thoroughly  mastered. 

I...  -I  -   —  J — -4-,-- — I       _i     — |___..i     . 


'J'lie  root  is  doubled  and  tlie  fiftii  omitted.     This  is  often  done  if  it  i.s  desiivjd  to  have 
the  fif'.h  of  the  tonic  present. 


Xi' 


Til 


Hint  seventh  clionl 
(•(iiiijilete  this  siib- 
—  witli  its  iini<,'res- 
and  open  liarniony. 
^hly  niastered. 


Open. 


—  -rf 


-f- 


31 
J 


if  it  is  ilesiivid  to  have 


7    .a (2 


t- 


ise.  Opcu. 


T — r- 


-jSL 


"I — 

-I — 


a. 


lose. 


=d: 


open. 


77//;   CHORD   OF  DOMIXAM'  SlAEMll 


H5 


J 


J.-:: 


12 

h 


d- 


1 


all 


(■1(W. 


(5r 


f  ipt'ii. 


fluSf. 


Opi'il. 

I 


r-T'^MJ 


-_  r- 


\os.  1,  2,  ;?,  dominant  seventh;  root  at  ba.ss;  No.  1,  seventh  at  toj.; 
No.   2,   tifth  at  top;    No.   ;5,  tliinl  at  top. 

Nos.  4,  /),  (1,  lust  inversion;  that  is,  third  at  hass. 

Nos.  7,  )^,  t',  seeond  inversion;  that  is,  fifth  at  l)a.ss. 

Nos.  1<»,  11,  12,  third  inversion;  that  is,  seveiitli  at  l)ass. 

Observe  that  no  matter  how  the  ehurd  is  arranged,  the  members  always 
move  the  same  way ;  that  is,  — 

Seventh,  (k)wn  one  degree. 

Fifth,  down   one   degree   (although  it  may  move   np,  as   in   the  next 

example). 

Third,  up  one  degree. 

Hoot,  up  four  or  down  five,  to  the  root  of  the  tonie;  this  is  when  tne 
root  is  used  as  a  bass.  When  it  is  not  at  the  bass,  it  dues  nut  move,  as  it 
becomes  the  iifth  of  the  tonic. 


II 


lE^mr-Ill 


No.  1,  fifth  at  top,  root  at  bass;  fifth  ascends  doubling  the  third. 
No'.  2',  fifth  at  bass,  seventh  at  top;  fifth  ascends,  doubling  the  third. 
No!  i,  fifth  at  toj),  seventh  at  bass;  fifth  ascends,  doubling  the  third. 
These  are  the  only  cases  in  which  it  is  well  to  make  the  fifth  ascend. 
Observe  that  when  it  does  ascend,  it  is  either  at  the  tup  or  the  bass. 


.1 


ii6 


Tin:  ei.i:mi:.\ts  or  ivc.ir.  ii.ihwnw)' 


Skconi)  IMmuikkssion  (»f  Dominant  Skvkntii 


'i"lu'  si'Cimd  i)r()<,n'('ssioii  is  to  the  iiictliiinl  (sixtli). 

'I'lic  iiu'IiiImts  (if  tlic  chord  iiidvc  as  lid'oiv,  i-xccpt  that  (lie  lifth  must 
(li's<'('ii(l,  and  thf  tliinl  nutii  descend  when  the  iiftli  is  at  tlic  tup. 

The  i't)i)t  ascends  one  decree  to  tlie  mot  ol'  the  mediant,  and  both  roots 
must  he  at  the  bass. 


3 

»/ 


pip 
Cldso.  Open 


4      yi   I   5        ^1   '?'rr-—'>   I   ■^      ^   11 


Open.   ■ 

4 1 


Closo, 


:Pi.„__-?-_ 


^flI!D!liif3i~3 


.4-: 


-1 

N.  U. 


wmr:2i 


No.  1,  seventh  at  top;  2,  third  at  top;  3,  fifth  at  top.  The  third  may 
descend,  hut  oidy  in  tlose  harmony;  in  ojten,  it  must  asccnih  as  at  \.  15. , 
hccause  if  it  descended,  there  wouM  Ite  successivo  liflhs  hctwecn  the  tenor 
and  alto. 

TlIIi:l)   PllOfiUKSSKtN 

Tiie  dominant  seventh  of  a  major  key  may  he  followed  hy  the  dominant 
seventh  of  its  rtdative  nunor.  The  following,'  fxami>le  shows  how  this 
pro<,Mession  may  take  place.  We  leave  to  the  jiupil  the  writinj,'  of  the 
luveisions  and  positions,  open  and  close,  enoiiyh  having  hcen  done  now 
to  guide  him. 


ri-:] 


'X 


I ___|-.^^ 1 1 1  -  , -r 1-        ,1 

- --.rT^i, =1        -1     — j 1  -     -1    II 


:=1 


u 


"d 


310 


OX)- 


VKNTII 


tluit   tlif  liflh  must 
L  tin'  top. 
iiiiit,  uiul  both  routs 


4^ 

1 

■ —    — t 

N.  H 

^5     -    - 

S'^ 

^? 

t. 

<>-" 

..t— 

_^,.'~ 

II 


ip.  The  tliird  may 
asociid,  as  at  \.  15., 
IS  liftwc'C'ii  the  tuiior 


v('(l  Ity  the  dimiinaiit 

i]r   shows    how    tliis 

tlio  writiiij:^  of  the 

iiii;    hc'cu  (hmo  now 


n 


--i^ 


rn 


■5'        -     O 


IB 


THE   CHORD  OF  nO.yffXAXT  SHlKMIf 


117 


Seventh  .h'sronds;  fiftli  an.l  third  heh.n,^' to  both  chords;  root  is  raised 
rhromatieally,  heeomin-  thinl  of  the  next  chord.  The  l.laek  notes  are  to 
sliow  tlie  pVojrression  of  the  seeond  chord;  it  Ixjing  also  a  dounnant 
seventh,   it  must  have  a  resolution. 

Skquknck  of  Dominant  Sevenths  in  Foru  Papth 

All  the  dominant  seventh  chords  in  the  related  ^vm\^  may  ho  writt.'U 
in  succession  if,  insti'ad  ..f  resolvin-  the  third  ..f  earh  chord,  it  is  h.wered 
chrouuiticallv  and  made  the  seventh  in  the  next  chord. 


Seventh  and  lifth  <h-scend;  root  may  he  stathmary  at  the  hass  or  ^o  to 
the  root  of   the   next   chord.     Write  this   successhm  in  all  positions  and 

inversions.  in 

There  are  a  few  i.assa'.,'i's  in  whiidi  the  dominant  seventh  asecn<Is;  tliey 
are  as  follows:  in  th.'  third  examph-  the  seventh  is  .h.uhled,  one  going  up, 
the  other  down.     The  first  example  is  the  most  usual. 


Kememl)er  that  every  chord  with  an  accidental  in  it  is  a  dominant,  and 
the  seventh  must  he  added  to  it. 


i 


iiS 


rill-    EI.KMI.M'S  OF   VOCAL   //AA\U()\)' 


Doiuinants  that  a.v  to  have  s.....,,.!  .-r  thinl  p.oKMvssl.m  aiv  n.a.k.'.l 
soc.m.lcrthinl;  whf.i  not  ma.kr.l.  Miv«-th.iMtho  first. 

,„  ti„  lirst  tl>iv..  ..xr.vis..s,  not.-s  in  the-  M.rh..ly  thai  may  1-  tn-.U-.l  an 
M-vrnlhs  a.v  i..arkr.l  7.      Ohs.rve  that  th.y  a.v  always    lullnur.l    hy  th. 

note  (iiic  tlc^'ivt    hcldw.  •     1      .1        ,.  .,,1, 

Tlu«  h.wvml  hsulin-  ....U-  of  tho  s.-ah-  must  h.  hanuom/...a  as  th.  srv.  nth 

<,f  a  oli.ml,  th.iv  U'hvA  ""  ""'*'••  ""''^"^  "''  ^'■'■''^'"-  '^  "^  '""'  ''"^:"      '" 
^'*''  n-oi-sions  of  th..  .hin.ii.ant  srvrnth  in  invfiMvii.r  to  nsin-  th.<  nu.t 


Use  in 


ftS 


the  buss,  fxoci.t,  ..f  ioursr,  when  it  is  to  hav  tho  s.'.on.l  iMogivssio.i. 


?fl?1 


i^O]3il^?^=^34031 


2d 


7        7 


I 


ianjEcii^-i'-it^  n 


— ii^^.[^"° 


E_...t: 


•  5*    !!^£j 


—^ 


-iii^iii^;£^ili:iiiil!li£^^ 


T 


Ml' 


^rrssinii  nil'  iiiaikt'il 

It  iiiiiy  !"■  tifiilfd  as 
ys    t'(illn\v»'(l    liy  lilt' 

niizt'd  !is  tilt'  sfvciitli 
I  111  uur  dis^itisiil  as 

ICC  ti)  iisiii;^'  the  nutt 
cond  inogiv.ssiun. 


n 


^mi:iP  n 


"[•iB^I 


1 


-_^^ 


m 


slLg-g;!! 


77//-;  c7/0A'/>  OF  noMix.wr  sr.i'j:.\ni 


119 


H^JT^  -ri f^l^jr [T^ T^l?  ^ I '  II 


J  O      ^^  *'!•'-• 


^1 


REVIEW 

1.  Wliat  tliivo  ])ro;j:iv^si()iiH  iiiay  tlic  (liMiiiiKint  scvciilli  diord  liavor' 

2.  How  is  :i  Nf(|iuiici.'  (>r  (laiiiiiiaiil  sovctilli  clmnls  iiisidt'? 

:i.    Mow  .Incs  tlie  scvculii  iinvc  ii.  Ilic  \\y>\   |.n);4ics.MMh?     'riH' tlftli?     Tlic 

tliird?     'I'iic  roiil  ? 

4,    How  do  tlicy  innvo  in  tlio  sc'cdikI  projrrcHsinnV 

f).    In  till-  third  |.rn':ivssion? 

('..       Ill    till'    St'(|llClK'C? 

7.    Ill  wl.Ml  ciiscs  may  tin-  dflli  nscci.d  in  liic  llrsl  proj^iTsMnii? 

H.    M:iv  it  ever  usccntl  in  tiic  si'cond  proirrcssionV 

<l.    Wliic!.  mcmlKT  of   tl.c  cliords  must    W  at   liio  l>ass  in  tlic  second   pro- 

groHsion? 

10.  Docs  the  third  nhvays  ascend  in  tlu'  sccnd  i.io<,'resHionr 

11.  In  wiiat  cases  niav  the  scvcntli  siscond? 

\1.    Wlicn  may  a  note  in  the  m.-ln.ly  l.c  harnmni/cd  as  the  seventli  of  a  cliord? 
iJi.    Whicli  .le-reeof  the  scale  when  aeeiiU'iitally  lowered  must   lie  made  the 
Hovonth  of  a  chord? 


■HMimsin 


rw»«i"ii  — 


1 20 


/■///■;   Hl.EMl-MS  OF   iVC.U.  IlAHMU.\y 


wmmam^ 


CIIAPTHK   XX 

Ol'KN    IIAUMONV    IN    I'UL  11   I'AU'IS 

„..„1     111.'   simi.U'   cxiK'tlu'iit   "f   ii>"vii'.!.'    il'«' 

W''^'^^^^^-^--^-"^''-'TT''1 ' " ■■ 

inul  vocal  iKinnuny.      1  lu-  '"^"^^ '"';/'  ".  .„;,.,,„    Uuil  tsvu  voices  must 
1,  iind  most   important,    llie  nilo  iiIkm.!}   },inui, 

iicvor  move  lo'-vllu'f  in  lil'tlis  <»i'  ortiivos. 

V    ;,;,  alii,  an.l  lonor  untsl  not  he  nu.iv  than  an  octavo  a^it  at  any 

time.  , 

'?     'riic  voices  must  not  cross  cacli  oIIut. 
•|;    I,;,  \„,,ior    ,arts  (alto   and    tenor)  slu.nUl    huvc  as  few  leaps  as 

''i!'' U'hen  two  or  nu.re  chords  in  snceessiou  include  the  same  sound, 
1 


ccei.  it  in  the  same  voice,  il'  it  is  alto  or  tenor.  ..,•„, 

1,    When  a  letter    is  altered  by  J,  ^  or   =,   it  ,nn.l   !«'  retan>cd  u.   the 

"The 'll^t  wav  to  pra.'tise  this  kin.l  of  writin-  is  on   four  staves,  usin- 
,c  (r  clef  for  the  ten..r  with  the  understanding  that  its  pitch  .s  an  octave 


tl 

lower.     Thus      - 

Tenor  wrilU'ii  on  <i  ilct. 


.rr;::??:-- 


——:^z—r9- 


-0 


^ 


I 


-a- 


8>- 


Actual  intdi  ns  suiii,'  by  Ti'iior 


o       ^      " 


-<?- 


■  ■  -rsr 


z ^'srm:^!:.!::^::'- 


71 


o.\  r 


IS 

uMit   of   nioviiii,'    il'«' 
(1  iiMidiici!  giMid  linir- 

I'lVOtl. 

hut  tsvu  vuki'S  must 
1  Dftivvo  iipiut  iit  iiny 


Imvo  as  fow  U'ui'S  its 

mlo  tlic  sumo  sound, 

at  1m'  u'ta'uii'd  in  the 

,,n   four  stiivcs,  usinj? 
i  it.s  pitch  is  an  octavo 


— «■  — 

_jsr. — " 

, 

-— 

.Ci- 

-o-     f^     ^ 

-     --'      Z—Il-'— — ^ 

(V7..\    It.lKMO.W   /.y  Jt>L'A'   /'./A/'.V 


I  .M 


Study  ih.'   folh.win-i  cxanii^h's  widh     OLmtsv  Ihal    whm  ih.-   m-piiiuo 
au.l  iMssaiv  less  than  tN\o  oitavcs  apart,  liu'  haiuioiiy  oUiu  lu'ionu's  iIom'. 

I  e'j^^n^fpTri-^^FT^r"'  r  i  •- ,-  f  -  ii 

A  B 


ic  ^iey^iM*  I  £--£■&••  ^ii-^-^L^E-  II 


No   1       At  A.  tho  fd'th  of  tho  c-hord  is  omitted  and   llie  tliinl  douhh'd, 
hofa'uso    the    U'uar  wouhl    n.ovo    iu    hflhs  with    thu  bass  if  it  had  thr    C 

(l)hirk  note)- 

From  B  to  tho  end.  the  harinouy  is  '■Jnf:r. 


'I 


122 


/•///•;  EU-MEiXTS  or   VOCAL  HARMONY 


No.  -2  is  till'  s;iiii('  melody  witli  dil'lVivnt  troatincnt. 

At  A,  the  tenor  uii.l  l.;iss  hold  the  tonic  and  dominant  (doi'Me  pedal), 
while  the  soprano  and  alto  move  together  in  sixths.  At  B.  the  bass  only 
has  a  holding  note;  the  otlu>r  voices  have  the  diminished  chord.  At  C,  the 
seventh,  in  the  alto,  ascends  as  the  hass  moves  up  with  it  in  thirds.  At  D, 
the  hass  and  alto  hold  the  dominant,  while  soprano  and  tenor  move  lu 
thirds.  At  E,  the  lil'th  of  the  dominant  is  omitted  for  the  purpose  of  mak- 
ing the  final  eliord  complete. 


ro  4_:f:::?: 


g^g:  r^r:.f:^:frF1^j^::  J 


Close 


h.irnimiv 


^£t=i 


^=t 


:.::-;i 


:2:=i 


-d- 


! 


d^ 


ip-vrzar 


^J- 


-=1      A 


^; 


\^}Ei:2i^ 


-rmrtr 


^mj^ti^^^^-^ 


zir^-:^: 


^: 


feN- 


:=i.;--:] 


^ * 


-:\ 


-r 


iSll 


mm 


:1_.  -.1= 


?A-y 


lant  (dopMe  pedal), 
At  B,  tlie  bass  only 
il  choril.  At  C,  the 
it  in  thirds.  At  D, 
[ind  ti'uor  move  in 
the  purpose  of  nuik- 


f- 


-=l 


\-zt-  "-::^ 


t ■* fi.' 


-1 


m 


r=J--5- 


iz=:ij_ 


-d 


=}q 


!l 


mnjn 


-r 


4-- 


wm 


i 

^- 

:;  #_ 

^1 

"  i 

:-j- 

ai 

0/'£A'  JLIEMOXV  IX  FOUR   PARTS 


123 


Analyze  this  example.     It  is  composi-d  entirely  of  chords  in  the  scale 
of  (J.     Observe  in  how  many  places  the  dominant  seventh  chord  is  used. 

el.       —      :p^ ;d:mz_|~-. 1 -I    -I    '  - -N    -j-  "^     V~^     # •-      «     I 


il^ 


J^^* 


i!0 


^-^: 


m-^^i::^! 


h£      "3:  -:T^^3^ 


-#- 


-d 


:1^ 


II 


* * 


?iS.Jf:^f: 


j>£:,L 


9-  • 


4- 

- « 


n 


d 
•^ 


f=E3^ 


^^ 


:f- 


.'#-• 

-t 


^  Ji — f — 


;^ 


|] 


'S-t 


_iLr_=:r_:ijr:^-t 


^r-fzi 


rj- 


-V — ' — j 


iff^ll 


Where  are  the  dominant  seventh  chords? 

To  what  related  scab's  do  they  belong? 

Are  there  any  examples  of  held  notes  with  passages  in  tliirds  or  sixths':' 

All  the  exercises  in  the  book  sh(.uld  now  be  rewritten  in  fonr  parts, 
using  the  common  chords,  their  inversions,  and  the  dominant  seventli 
chords  of  the  related  grouj).  Ai  the  same  time,  the  four-part  c(tnipositions 
in  "The  Normal  Music  Course"  should  be  carefully  studied. 


J 


w 


124 


THS 


r.u:siE.\rs  or  i'Ocal  iiarmosy 


CHAPTER  XXI 

AUDITIONS    R)  Till-.   DOMINANT  CTIORD. 

o^t-nsi....s  "f  ll."  -1"""-""  '■'""■''  '"■"'",',  V  Hst       The  Wl.nving 


1 


n.  ..vvr  ll,-.t  Uu'  ..mil.  .v,.,l  ll,iilo>'..U,  ,..ay  1.0  oill.or  ...»j<..'  m-  ...h.nr; 

,.,„:r:r."..-- .-'rT::::".:^:'ro::;':::t.:r 


■ify 


r  •5' 

3  ^ 


,1 


I 


n5- 


I 


3 
1  1  ■S' 


I 


:^'-"rr 


r/^rrm.'^: 


■; ^ 


II 
II 


Hoot. 


No.  1,  root  to  nintk  Tuajor  or  n.inor.  occurs  freauently. 
N„.  -J,  nx.t  U)  elcvciUli,  not  so  fieiiucut. 


1/OA'K 


ADDITIOXS   TO    Till:   DOMlXAXT  CIIORn 


125 


ciioun. 

th  cliord  arc  the  iii"st 
lilt  ivniiiin  arc  cliictly 

111  it  new  mcnilicrs  of 
.  last.      The  following 

l,c«  i..(l.lc(l.  It  will  be 
Lhe  scries  over  again. 


Nn.  :'.,  root  to  tliirtccntli,  still  less  fn'(|U.'ii(. 

>;o.  4,  root  to  lliirtfciith  with  tliinl  aii.l  seventh,  oci  ins  riv(iuciilly. 

We  will  take  these  groups  one  hy  one.  ami  give  the  rules  I'c.r  tlieir  use. 

No.  1,  root  to  iiinih.  'I'he  uiuth  resolves  ly  deseeU'liug.  it  umy  u.'t 
l)e  put  k'low  the  root  or  eh.se  t(.  it.  It  rarely  sounds  well  unless  either  the 
ninth  or  the  root  is  found  \\\  the  preeeding  chord.  Tlie  litlh  must  aseeiid 
when    it   is    beh)W    the    ninth.     The    ninth  may  resolve  hefon'  the  (lu.rd 


flianges. 


1      *  I        2  '  I         3  !»  ♦  0 

-•5*"—— -5*  ?-^#  '*  !  -J        ,        -I -t  ,    --fl 


rr^  3 1  j_i  hJ  e; -:sz "  n 


::=!- 


cither  major  or  minor; 
he  doniinant  of  a  major 
•y,  they  mud  he  minor, 
hie   to  sound   them   all 


V  be  used. 


4 

1 

--"■- 

-^  1. 

n 

B 


cqucntly. 


Write  the  invci-sions  of  N.-s.  1  and  i2.  The  third,  fifth,  and  seventh 
mav  he  at  the  hass.      Observe  the  rule  above,  about  the  niulli  and  root. 

No.  1,  progresses  to  toiiie  chord. 

Xo.  -2,  ninth  resolved  lirst,  then  the  rest  of  tin-  chord:  the  lifth  ni;iy 
(k-sccnd,  because  tin;    ninth    being   resolved,    it    will    not    move    in    liftlis 

with  it. 

No.  a,  the  ninth.  1),  is  a  member  ..f  the  preceding  chord;  the  tilih  is 
omitted;  it  is  the  best  one  to  omit  in  four  ]>iiits. 

No.  4,  the  root  is  a  member  of  the  preceding  chord. 

(J roup  Xo.  -  may  he  used  as  follows:  — 


I      ?^-      II 


-t- 


II 


\ 


I 


126 


77/ A-  eli-:mk.\is  of  vocal  harmo.w 


No.  1.  .l.vrmh  .U-Mi'iuls  tn  third  of  doiniiKiut,  and  niiitli  (lesi'cMuls  (o 

niiit    n|'    tlnlllihilllt. 

No.   J.  rlrvri.th  as.riids    In    liftli  ..f   doiiiiiutiit,    iUid   iiiiitli  asrci.ds  to 

third  <if   ihiiniiiMiit.  ,      ..  ,  1 

No.  :{,  ch-v.-Mlh  is  sUiliuiKviy;  ninth  and  scvonlh  divsroud;  iiflh  asroiuls. 

Tliis  is  rarely  i'(iiiii(i. 

Third  gntui)  may  only  W  used  as  foHows:  — 


2    ! 


r^  I    'M  ?=?  I 


T-J. 


II 


^  :^ 


I  r ^iXIZs  II 


No.  1.  thirtr.-iith  and  i'h-vnth  di-srcnd  to  fifth  and  third  of  d<.:ninant : 
li„.  ninth  l..in-  .han-v.l  to  niin.-r  at  the  .siuu  liim'  souiul.s  hi-ttcT  than  it 
(he  major  ninth  was  it'lainnh 

No.'  -J.  samr.  will,  eleventh  omitted,  ninth  aseondinij  to  third. 

No.  :').  nintli,  ih'sceiidin.t,'  eliidmalieally. 

l'',-nrth  ^^ronp  may  he  used  as  follows:  — 


1    1 
1 


"> 


'^^^_^  I         "^ '5'-       U 

^         I         '>       "       '-' 

-!         ^     I    r: C 


No.  1,  thirteentli  fallin;^  to  root  of  tonic,  first  proirressiou. 

No.  -i.  thirteenth  deseeiids  to  fiflli  of  dominant;  in  this  ease  the  K 
instead  ot'  hein-  ei.ll.Ml  a  thirteenth  may  fuiivcnicutly  be  cousiaoicd  as  a 
ehanuing  note  ^Chapter  IX). 


fO.Vi' 


n\  ninth  descends  to 
nd  niiitli  ascends  to 
■sct-nd;  iiftli  asreiids. 


AVD/r/OXS   TO    THE  DOMIXAAT  CHOKD 


127 


H 


II 
II 


id  tliiid  of  dominant : 
sounds  ItettiT  than  if 


nir  to  tliird. 


0 
II 


Ljression. 

It ;  in  this  ease  the   K 

Ay  be  considered  as  a 


No.  3,  second  progression. 
No.  4,  third  progression. 
Seqneucc  may  ho  made.     Thus: 


These  overtones  are  nnieh  more  used  in  groni)s  ^^{  four  than  with  the 
root  i)resent;  they  move  with  more  freedom  whin  the  root  is  f.mitted. 
Still,  the  rule  that  the  dominant  chord  has  three  i.n.gressions,  and  the  rule 
that  seiiuenees  mav  he  made  of  dominant  harmonies,  will  always  he  found 
a  reliable  guide  t(>  tbeir  projier  use.  Breaking  the  series  np  into  groups  of 
four,  we  get  the  following  nine  groui)s:  — 


8 


9 


-^g 


g 


4 


r.        0         7  _ 

>i    I  ili  JLfl 

—5! 


No.  1  consists  of  root,  third,  fifth,  seventh;  counting  from  the  loiveHt 
mto,  this  grotip  consists  of  major  third,  perfect  fifth,  and  minor  seventh. 

No.  2  consists  of  third,  fifth,  seventh,  major  ninth:  counting  from  the 
louu^Ht  note,  this  group  consists  of  minor  third,  diminished  fifth,  minor 
seventh. 


4 


r*""  **T""  "•" 


THE   la.llMEXTS  OF   IVCAL   JIAKMOXV 

~   N.,    :;  .uHsisls  ..f  thinU  tilll..  s-vntl..  n.innr  ninlh;  n.Mnlin;^  fn-.u  Hm- 
U,,,:.,  \,..U.  .Ins  Lrvnui-  .....ists  or  .uin...  llunl,  diMuni.h.d  tilth,  ch.nnnsiM.l 

"■''n!,'''i  ....nsists  .!■  tinl.,  srvri.th,  ,n;.jnr  ninth,  .Wn.h:  iV-n.  thoA-.vW 
,„/,,  i,  ,..,nsisis  of  u.inor  ihinl,  yrxU.^x  tilth,  minor  s.v.'nth.  ... 

N..  :.  n.uMsts  of  rilth.  s.vrnth.  n.inor  ninth,  (.h.v..nlh;  fn-m  llu'  /-'■-/ 
,,,;i,\..,nsisu  of  n.inor  thinl,  .hn,inish...l  lif.h,  nunor  s.v.-nlh;  th.ivH.v 
i,  is  Ih.  KUM,.  MS  No.  -J:  still  thnv  is  no  nn..rrtainty  .s  to  Us  root  .1  us..!  u. 
,1,..  k.v  of  C.  h.v;,ns,.  if  It  urn.  thinl.  llf.h,  srvnth,  nmjor  n.nth,  thr  loot 
,.ouM'  W    V,\   iU.  .lo,uii.ant  of  1-    a  k.,v   that  has  no  nlafou  uuh   th. 

'^'•'l-il/fonr  n-nalnin^  ^nmps  an-  a-hh-.l  to  ronu-ln.  the  sc-rics;  ih.ir  us. 

is  \>!r\-  much  ivstrifti'il.  •        .i  ■  ,     ,,,i,. 

N,',    G  consists  of   s.-vnth.  major   ninth,  ch.v.-nth.   major   thntc..nt.., 

,■,,„„  ,!,.■  A^.".>-/  "•'.'-■.  "'ajnr  tl>inl.  \>rvU'vi  lifth,  major  srvrnth. 

No  7  roHsisls  of  srvrnth,  n.inor  ninth,  rh-v.^nih.  nujor  ihu'trrnth; 
fn.n.  the  l">rr,t  „ot.  minor  thinl.  ywU  .t  tiflh,  major  s.-vcnth. 

No.  S  consists  of  srvrnth,  major  ninth.  .■Irvi-nth.  mim-r  thnltTulh;  tnm. 
thr  lnn;.t  /,.-/.',  major  vhinl.  ffrl.Tt  lifth.  minor  seventh. 

Nn  ;.  consists' of  srvrnih.  minor  ninth,  eh'venth,  nunor  thirteeulh: 
,V„,n  the  A-«v../  /.,/,■,  n.inor  thinl.  perleet  lifth,  minor  sev.-ntl-,. 

T.e  Jii^'live  sl.ouhl  he  .■ommitf.l  to  memory  as  .soon  as  i.ossil.le.  he- 
..;u,s,..  whra  it  is  desin-l  to  lin.l  the  root  of  a  rl.onl  of  four  letters,  ,t  >s  only 
,„.>.,.ssa,v  toa,Tan..e  th.m  in  tl.inls,  an.l  tlu-n  eonnt  the  u.n-rvals  in.n,  the 
/„..,./  IrUer,  and  eon.oaie  with  the  ahove  tahle.      Wo  -ive  some  exan.i.les. 


1 

— ..> 
o 


2      b: 


'^%         n         7 s 

':-^7-   ^^^^--  "^r^^:-  -^ 


-y'^r. 


-^<, 


I 


5  '5'         SO 


\o  1,  letters  arranu'e.l  in  (hinls  must  he  VA\  W  U:  lm,n_  the  /.«v./ 
1,11,,,  n.inor  thinl,  peifert  lifth,  minor  sevet.lh;  theu'lorc  it  is  lillh, 
.srvenlJ.,   ninth,   .■leveitth.    fn-m   A,   dominant   ol    D. 

No.   2,   letters  arnin-ed    in  tl.inls    must     lir   \t  A  (.   K   :   '• ''. 


Muuor 


oxy 


.innrno.xs  ■/,>  riii-:  noMixAxr  lhokp 


1 29 


1;  ((Uiiiliiij^  fit'iii  till' 
lu'd  lil'tli,  di.ninisiictl 

■  iitli:   I'li'in  tlio  l^m-tM 

I'Utll. 

■iilh;  friim  llif  l<i<'>^i 
11-  sfVfiilli;  tlififfmc 
i  lo  its  nuit  if  usril  ill 
iiiiijiir  niiitli,  tin'  n»it 
11(1  ivliilioii  will)  till- 

till'  sfiic's;  llu'ir  use 

h.   iiKijor    tliirtci'iith; 

M'VClllll. 

ill.   iii.ijoi'   lliirtcciilli; 

CVl'lllll. 

liiior  liiirlrt'ulli;  from 

th. 

til,  iiiiiiiir   tliii'tcciitli; 

Sl'VcIltl'i. 

s  soon  ;is  possililc.  lif- 

fiiiir  Ictti'is,  it  is  only 

the  intervals  from  llu? 

D  <''ivo  some  cxam[ik's. 


^r— #0 


so 


r,  I):    from  llic  }<»i'ixi 
tlic'fi'foro   it   is    fiflli, 

A  C  \-?\  I.  '■..    Mii'ior 


thinl.  iliii.inisiuMl  liftli,  <liminisli(  >1  sr\r::ih:  ilicivforr,  tliinl.  lifili,  srvcnlli. 
jiiinoi'  niiitli.  fioiii  I ).  .Itiiiiiii.iiil  ol  ( i. 

No.  ;;,  l.iuis  :.it;.ii-v(1  ill  lliM.ls  iun>t  1).'  1)  K  V  (';  /.  <■.,  minor  tliinl, 
jHihHl  lilth.  minor  Si'scnlli;  ihnvfoiv  lliu'.!.  liftli.  seventh,  niiijor  iiiiith, 
from  IP,  (l..niiiiiinlof   l?,  or  iifth,  seventh,  minor  ninih,  eleventh,  from  (.. 

(Idiiiiiiiiiit  ol  ('. 

N...  1,  letters  arnin-ed  in  thinls  mnsl  he  A  ('  V?  (i.  same  as  last 
nioni-;  iheivlore  eilh.r  tliir<l.  liftli,  si'veiiih.  major  ninth,  from  I',  (h-niiiK.nt 
ui  IP,  or  Iifth,  seveiilh.  luiiior  ninth,  eleveiilh,  from  I ).  (loiuiiianl  of  (1. 

No.  ,-),  h'tters  arranj,ra  in  lliiids  must,  he  I'P  (i  IP  l>^  '•'■.  '""J"'- 
tliii.l,   iierfeet    liftli,    minor   seveiiih;    lheref(.re    root   to  seventh,  tlomuiaiit 

ofA\  '  . 

No.  0.  lett.Ts  arran-e.l  in  thirds  must  he  IP  IP  V  .V ;  >.  r..  minor 
thinl.  i.erfeet  Iifth,  minor  sevnth ;  therefore  Iifth,  sev.mth,  major  ninth, 
eleventh,  from  M"",  tloininant  of  .V.  ^ 

No  7  h'lters  arraii-e.l  in  Ihir-Is  must  he  V  A'CiK;  /•  '..  mir.or  thim, 
,ii„,inislie,l  Iifth.  .liminishe.l  seventh:  ihereh.re  thinl,  liflh,  seventh,  minor 
uiiilh,  from  I )-,  ilominaiit  of  (i-.  .  ,  •    , 

No.  s,  letters  arran.^e,!  in  tliinls  must  he  \K  VZ  A  CZ:  i.  .:.  minor  th.nl, 
.limiuishe.l  Iifth.  minor  seventh;  thereloie  thinl.  tifUu  seventh  niajor 
„„,„,.    IVom    I!,   .hmiinant  of   K,  or  hfth,  seventh,    min.,r  ninth,  elevenl.i, 

from  (I-,  ilominaiit  of  ('-.  •       n  •    1 

\o  It  letters  arraii-e.l  in  thirds  nmst  ho  A  ('  K  d:  >■  '•.  ""ajor  thml, 
„„,,•...,  tifth,  minor  seventh:  then.fore  lirst,  thinl,  liflh,  seventh,  .lommanl 


of  I). 


Arran-e  the  following  groups  in  (hinls  and  lind  the  roots. 


^ — ?o— --O 


I 


REVIEW 

1.  How  an-  iid.Iitions  ina.le  to  t!ie  dominant  eliord? 

2.  AVliat  an' lliese  soini'ls  e;dled? 

•J 


rr 


^19 


'30 


n. 
I. 
•1. 
c. 

tliirh-L' 
7. 

H. 

;•. 

11. 
1-.'. 
1:5. 
It. 

n;. 

17. 
IH. 

lit. 

2(t. 

21. 

ust'd  w 

'2 '2. 

2:5. 

'21. 

2:.. 
lottcr. 


■////■:  i:ij:M/:.\rs  or  ivlai.  j/a/^.uow 


I 


How  iiiiiny  may  I'O  mltU'tl? 

Wliv  mi;  V  lln"  ail'lilimi  lutl  ln'  cMrrird  licyoiid  tlu"  lliirloeiilli? 

Wliicli  nvfiloiii's  may  In-  iiscil  in  two  t'l.rms? 

Wliul   mii>l   llu'   Ui'y    Ik-   Id  ailinit    nf  litliiT  iiiujor   or  minor  iiiiitli  and 

Mill? 

.    May  liotli  forms  1h'  n-i'd  in  llu-  minor  key? 
,    May  all  llicsi-  lie  sonndrd  toirctlicr? 

How  many,  with  tlu'  root  jinsfnt? 

How  (l(»»'s  tlu'  ninth  ri'>olv(  ? 

May  it  ho  soiukKmI  hclow.  or  c'lost>  to.  tiu'  root? 

How  may  tho  ninth  ho  l)ost  introduced ? 

Ilow  do  tho  lifth  and  tliird  movo? 

Miisi  tho  wlioK' oiiord  niovowlion  tlio  ninth  resolves? 

What  invorsions  may  bo  made  of  this  chord? 

How  may  tho  olovonth  move  when  nsed  with  the  root? 

What  memlii'r  nmsl  he  omitted  wiien  the  eleventh  is  used? 

Wlial  inemlior  moves  with  liio  eleventli? 

Wiiiit  niemliers  may  he  used  witli  the  thirteenth? 

Ilow  does  tho  tliirteenth  move? 

What  prou'r»'ssious  may  the  chord  have  wlien  the  third  and  seventh  arc 
itii  tlie  thirteenth? 

What  is  tiic  usual  way  of  tr(\itins  these  overtones? 

How  many  groups  may  be  made  from  them? 

How  n)ay  the  jxronps  lie  distinjiuished? 

(iive  the  intervals  that  constitute  caeh  group,  counting  from  the  lowest 


MOW 


r/WG/iESS/0\S  OF  JHlU/.V.LVr  //.//i'.l/<'.\7A.V 


liirli't'iitli? 


)r   or  iiiiiior  iiiiitli  and 


out? 
is  used? 


>  third  and  aevciitli  arc 


(IIAPTKU   XXI I 

Ti{0(iin:ssi()Ns  of  dominant  iiah.moniks 

TlIK  iH'xt  stfp  is  to  learn  the  rules  that  <,'uvt'rii  tla-  iisi-  of  tlirsc  sepa- 
rate groups.  It  will  1h'  I'ouiid  that  tlie  law  of  tlie  three  proj^Mes- 
sioiis  and  the  secpienee  may  Ik-  api.Iied  in  nearly  every  ease.  'I"he  lirst 
group,  namely,  ro(.t  to  seventh,  has  already  l)een  treated.  The  second 
group,  nameiy,  third,  liflh,  seventh,  major  ninlii,  may  l)e  used  as 
follows:  — 


JlM13-~IO 


D 


UJtiiii'  from  tlic  lowest 


No.  1,  iii-st  progression. 

No.  2,  third  progression. 

No.  '\  setiuenee. 

The  root  being  omitted,  these  progressions   may   ho   inverted   in   any 


way 


Third  group,  third,  fifth,  seventh,  minor  ninth.  This  group  is  kjiown 
as  the  diminished  seventh  ehord,  from  the  interval  of  diminished  seventh 
hctween  the  third  and  minor  ninth.     It  may  be  used  as  follows:  — 


k..- 


..  >• 


KV- 


THE  i.i i-MiMs  or  locAL  iiAK.\n>.\y 


No.  I,  rn>t  i.inirrcssniii.  ,      .  i 

No.  •_'.  tl..  tiltl,  .U.sm.imK  alll.nn-1,  it   is  hrlnvv  tin-  iiintlK  .'   nmy  .lo  s.. 

niilv  \\li''ii  ilif  iiiiiili  is  minor  iiiitl  is  imt  ;il  tlif  t<-i.. 

rl.unls    uf    .liM.ii.ishr.l    .Mvrntl.    n.av   l-  wntlm  in    .sur.rss.n,,    .miL.t 

as.rM.iiii-  or  .lrs.ri..lin-,  l-V  lunsi.ig  .v.n    nmr  up  -i  dnui,  a  hail  tmir. 

Tims:  — 


I5v  .haii'Mii-  .nhanmmi.aliv  '  tl.r  ...iimr  i.ii.tl.  ii.  tlir  .li.nihi.l.ra  srvri.tli 
,l,„ni.  .I.TiM.I  In.n,  ll.r  .ln:ni.>anl  nf  a  major  kr,v.  it  1-.  ohms  tl,r  .Imninsi,..] 
.srvuilh  rh..r.l,  ilrrivc-a  from  tl.r  .lominant  of  its  iriativ  mmor.      I  hits:  ~ 


6      ^9. ^si        I 


II  is  ll.-.Tfforc    i-ossil.!."  1..   siiLstitutc  cilh.  r  oiu'  for  tin-  otl.rr  at  any 


tiiiu 


rii.'so  el)  nls  sl.oiil.l  1..'  writlcii  in  cv.tv  position  ami  inversion  will, 
tiicir  pro-^n-ssions.  Tlu-  corri'sponding  rhonls  in  llm  ki'Vs  r.'latr.l  lo  (" 
art'  tin-  following:  — 


No.  1,  thinl  t..  ninlli,  domitiuntof  V  with  IP:  .liminishc.l  seventh  elnTd 
No.  -J,  thinl  to  ninth,  dominant  of  (\  with  K^  diminished  seventh  ehord 


if  (J. 


No.  :'..  diminished  seventh  chord  of  A  minor. 

,   K„|,ar,n,M,-K  rl.an^'-  Ls  th.  Mll.slilulio,,  „f  ..,„.  l.lt.r  fnr  aimtl,,  r  «i.l...u.  a  .l,.,....  ^f  ,,iul,,  its 


I  J.  IP.or  A".  »;3. 


lir  ilimilii.-lird  scvrlitli 
■,  mill's  llic  diiiiiiiislK'l 
ivf  iiiiiinr.      'I'liMs:  — 


I'm-  till-  (itlirr  ;it  ;uiv 


111  iuid   iiivfisinii  willi 
hf    ki-vs    n'liiti'd  l«i  (" 


s   I -I   I! 

ninislicd  spvciitli  tliiud 
iiinislu'd  sfvciitli  tliurd 

1-  wiilmiit  ;i  climii;''  "f  pitfli,  iw 


^►^:■ 


j'A'oc;a'/:ss/(>.\\  or  i>0Mix.txr  //.ia\wo.\7/-:s  133 


No.  I,  diiiiiiiislicd  scvi'iitli  clMird  <'f  D  iiiiimr. 

Ni).  ."),  diiiiiiiisliid  si'vciitli  1  Imrd  nt'  I",  iiiiimr. 

OLscrvi'  tliiil  liy  lai.MiiL,'  llu'  r"<'t  <'f  the  dniniiiaiil  <  I"  a  major  key,  yoii 
jft't  til.'  diiiiiiiislini  si'v.iiili  <  Imid  ..I'  its  ivlalivf  minor.  'I'lms,  (i  II  l>  K 
l„rniiu's  (iS  II  I)  I-'.  Also,  tlial  tl.c  sv'V.-iilli  111  tlu'  d.imiiiaiit  ol"  a  major 
kcv  is  til.'  iiiiilli  ill  tlic  doiiiiiiaiil  oi  its  irlativi-  minor,     'rims: 


1 

:» 

it 

1 

C 

It 

1) 

V 

K 

(iS 

1'. 

1) 

v 

1 

I'l 

.'1 

7 

'J 

n.-forc  i.ror-ccdiii;^  t..  tlu-  iirxt  f,'ioui.  wo  j,dv,-  soim;  cxampl.-s  for  an- 
alysis, in  \\liiili  tliis  ;liord  is  iisud. 

Till'  liist  two  »'xam|ilfs  arc  in  lliivc  luirts:  — 

(live  tlu'  root  of  (.'Vfiv  tliord. 

State  ulii.h  mrmlKMs'..r  tl.f  d.ord  arc  used,  wliidi  is  at   tli.-  Lass,  wliat 

their  movements  are. 

OLserve  wlietlu^r  there  are  any  notes  held  while  llie  other  parts  niov.". 
Also,  if  there  are  anv  eases  in  which -me  or  two  memhers  of  a  chord  an; 
lield.  whil.'  the  othci"  iiart  or  parts  move  from  one  nicmhcr  of  (he  chord 

"  'tIic  hist  tliive  cxampl.^s  arc  in  fmir  parts,  for  mixed  voices. 
Analv/c  them  in  the  same  way.  The  stmh-iil  is  carneslly  advised  toanaly/c 
in  this  wav  all  the  three-part  soii-s  and  exercises  in  the  Second  Header, 
I'art  II.,  of-The  N.irmal   Music  (.'oiusu"  and  the   foiir-part  scm-s  m  the 

\ppcudix  to   the  Third   iNailcr. 


I    =t 


C5)_4^ 


"9  _ 


_J 

-9 


— I      o 


i     I   I  -1 


-J   .    J- 


I       i 


-J   I    J 1 — 1-  %.- —  — _ 

•       "    •     f\   -    ''f' 

.  I  .    _    r.  \  ,---4-r 


::1  .  -i  ^: 
::3?mt_jiL 


nil-:  i:li:mi:ms  of  roc.ii.  iiAh'MONV 


Of—    —  • — 


l<^^ 


/     I  ■     r 


«'    o 


:  1 1'  ■^*' 


-I  -I 


•  -,3  .3T=r-  i  i\^=W\^\i 


r- 


^  ^  ^1^, 


\^^.2E^^  .,].     -1     ^    :jJS 


II 


-1^ 


:=lv-j-2 


-«- j  8^::^ 


j.- 


f:       ^___(_„_l_^- 


fe^ 


iii:d;^^J2-f^:iLiH_.1 


j--^j- 


I  I 


'■li^^imM^i 


rt--r: 


— t-       — +. 


mfl 


71 


wmmmmm 


frr 


ONY 


i  't-        r  " 


aig- 


i- 


=r 


-4 


I       I 


H 


;iMB 


-rf- 


1 


i^Hfl 


:#:   :? 


j'/^oi;a'/:ss/o.\s  or  DOM/x.ixr  junmomiis 


U5 


-1- 


P 

©,-c 


;iM:i_.i-l_ 


i^"?^:!'  i  I :  -i  i"Trr-Tt^:^im 


■i j_ 


m^i^^^i 


J  .._j- i 


£^g 


H-.J. 


.  u 


i£irJ 


^  J--=ir^— Jr:'!---J-:---Jri! 


^ 


''}^--:-isa 


f-f- 


5^ .-Sl-I    -s 


M^E^lp^i 


4^- 


ii 


J] 

n 


f-fih^tfW-i 1 1  « I 


LULL 


J  -•- 


^]fc?^T^Ti^J 


.i=iii:4-;-«--^-^^?i : 


;ir: 


-»[:: 


.t- 


if^ 


■  V 


136 


77/ A'   IlLEMKXI'S   01'    VOCAL   HARMO.W 


«      8     S 


2     J     S 


•  1         *  *         S         * 


,'r: 


1 


t  i« 


•       ',       •       •       #        -  ^ 


•  ;  * 


iii-  :  If  • 


•   s« 


Apf  _ . 


;  -  • 


^^r- 


•    # 


« 
/ 


n 


•  <, 


.III 


REVIEW 

1.  Wl'.iit  pi'oizivssioiis  iiiiiy  tlu>  second  irroiip  Ikivo? 

2.  \\'\\'a{  proiii'ossions  in:iy  tlic  tliii'd  <j;roiip  liavc? 
;').    Wlial  iiaiiio  is  !j;ivi>ii  to  tlii'  third  irronp? 

■1.    'WIkmi  may  till' liftii  desfi'iid  ill  tiiis  tii'ou-p? 

">.    How  may  dimiiiislu'd  sovi'iitli  chords  he  written  in  succossion? 

Ti.  IIow  may  tlic  dimiiiisiiod  soNciith  ^vt'onp  of  a  major  kt'y  l)c  clianuod  into 
till'  diminislu'd  scM'iitli  lirmip  of  il-;  relative  minor? 

7.  IIow  may  tlic  dominant  seventh  dirvt  iiroiipiofa  major  key  he  chaniied 
into  the  dimiiiis'.ied  seventh  ij:roup  of  its  relat've  minor? 

•S.    Which  jH'OLi'rcssion  is  liii>.? 

;•.  IIow  many  deurees  of  the  scale  may  l»e  accidentally  lowi'red?  Which  are 
they?     IIow  are  they  harmonized? 


'.i/o.yy 


CHORD   OF  KLEVEXTU  AXD    TlURTEEXTll 


'37 


•  m 


*    #     # 


# 
/ 


.•-«- 


'■  t 


II 


Hi!  II 


1  siK.'cos-iion? 

ijor  koy  1)0  cliiuiuotl  into 

;i  UKiji>i'  ki'V  1)1'  c'liaiigod 


illv  lowi'ivd'r    Whk'li  are 


T 


CIIAPTFJx*   XXIII 

CIIORI)   OF   KLKVKNTII    AND    I'lIIirrKKNTII 

IIH  fourtli  oT()up  In. iu  till'  til'lli  lo  thf  t'li'voiil!.,  witli  ii  iiiiij<ir  iiintli, 
iiKiv  1)0  used  us  follows:  — 


■5     1    1r 


ij-i^lT 


♦^ 


<>•  I  '^    -> 

B 


g       -       -     I 


t- 


t 


I 


i     ', 


4 


*>     >" 


~) 


tJ 


A 

0 


^b' 


1^  ^  II 


o     <-  I  '^ 


P^     r 


U^    I    2       "      II 


Xo.  1,  cloventli  and  ninth  descend ;  seventh  and  lil'th  stationary. 

No.  -2,  lii'st  pro<,M-ession.  Ohseive  that  the  eleventh  is  stationary,  the 
lifth  aseends  a  second  (A)  or  a.  fonrth  (B). 

No.  :?,  tii'st  jiroj^rossion;  seventli  at,  hass;  (A)  seventli  aseends  oiu' 
det^ree:  (B)  seventh  descends  one  dey-ree;  (  J)  same,  with  lil'th  nt  ton 
ascending  a  fourth;  (D)  seventli  falls  a  fourth  to  root  of  tonic. 

No.  4,  first  pro<,n'ession ;  ninth  at  hass. 

No.  "),  second  pi'on'ression :  (A)  lifth  at  hass,  aseends  a  second;  (B) 
seventh  at  hass,  descends  a  second;  eleventh  stationaiy. 

No.   <1,    third    prog-ression ;   (A)    lifth    stationary,   heconiiuL;-   seventh  in 


ir^ 


V 


'38 


TJ/E   I'lLEMKXTS  OF   VOCAL  IMR.\fOA'y 


(luiiiiiiuiit  nf  rt'liitivf  ini;i(ir;  (B)  liltli  iiscoiids  to  root  of  (loniiiuuit  of  iclii- 
tivf  niiiKir;  (C)  liflli  and  si'vcntli  stationary ;  i-li-vi-ntli  and  ninth  descend; 
iii  ii:('  tliird  proyrcssion  tlic  cU'Vt'ntli  descends. 

No.  7,  se(iiicncc  uf  dominants;  the  lii-st  chord  lias  the  third,  therefore 
cannot  iiinc  the  elcventli,  as  tiiey  may  not  be  somuh-d  to<,'ether.  The 
ninth  (A)  may  l)e  minor  (A'')in  all  these  examples,  thns  ciianijfinj,'  it  to 
the  liftli  uronp:  namely,  lifth.  seventh,  minor  ninth,  eleventh.  'J'he  second 
chord  has  lii'lh,   seventh,   minor  ninth,   eU'Vcnth. 

No.  1  may  he  inverted,  or  written  in  any  position. 

Nos.  •_',  :'i,  4,  o  sonnil  best  as  here  <,'iven. 

No.  (J  may  l»e  inverted,  or  written  in  any  jxtsition. 

Tiiese  chords  shi»uld  he  written  in  every  key  until  they  bcconio 
familiar. 

The  remaininijf  t^roups  may  be  used  as  follow.s,  but  th(>y  are  not  often 
met  with  in  voeal  writing. 


r 


;^ 


3 

x  '  r 


II" 


E: 


r 

-r1 


n  'iWdi 


5 

—I 

^6 


\1_1A 


=1 


11 


11 


No.  1,  sixth  group;  seventh  and  ninth  ascend;  thirteenth  and  eleventh 
descend. 

No.  "2,  same  group  billowed  by  tonic. 

No.  :5,  eighth  groui);  minor  thirteenth  ascending,  generally  written 
1)2  in  this  case,  but  incorrectly,  U'chusc  the  next  example 

No.  4.  (ninth  group)  shows  that  the  A  maybe  tlat,  ?.  f.,  minor  nhith ; 
■lUil  it  is  im])ossible  for  A^  anil  D-  to  exist  in  the  same  chord. 

Nos.  T)  and  <•  give  other  ways  of  using  this  last  group;  they  are  more 
often  found  than  any  of  those  preceding  them. 


wmm 


'oxy 


(if  (loiuiniuit  of  iclii- 
1  and  ninth  descend ; 

i  the  third,  tlieretVire 

idfd    toifcther.     The 

tlins  fliiintxinj,'  it  to 

'venth.     'J'iie  second 


until    they   become 
it  they  are  not  often 

35^  i,g,    II 


mum 


irteenth  and  eleventh 


<y,    generally   written 
il>le 

it,  i.  f.,  minor  ninth; 
chord, 
roup;  they  are  more 


CHORD  OF  EI.EVEXrn  Axn   tuirteestii 


139 


ForitTII    ANI>    I'llTIl    (lltOll'S 

The  use  of  the  fifth,  seventh,  ninth,  and  eleventh,  is  so  universal  that 
a  further  discussion  will  prove  heliiful. 

XoU-.  The  seventh  groui),  namely,  seventh,  minor  ninth,  eleventh, 
niajor  thirteenth,  is  hardly  iiossinle,  it  is  so  harsh. 

(H)scrve  that  tln^  fourth  and  lifth  groups  consist  of  the  second,  fourth, 
sixth,  and  eighth  degrees  of  the  seaU'.  'J'licsc  groujis  sound  hest  when 
preceded  hy  a  chord  that  includes  the  eleventh.     Thus:  — 


1 


r 


1-1 1 


^^:i:i^ 


.■^' 


t- 


II 

D 


No.  1,  preceded  hy  tonic;  (',  the  eleventh  in  second  diord,  is  ro.(t  of 
tonic. 

No.  2.  hy  suhniediant;  ('  is  thii'd  in  suhmcdiant. 

No.  ;>,  hy  suhdojuinant;  C  is  fifth  in  sulidoiniiiant. 

These  gn)ups  sound  next  hest  when  the  eleventh  enters  hy  degree. 
Thus:  — 


g- 

1 

r 

— •$■11 

S- 

■3- 

r 

-■^■- 

1 

Ct 

t 

-5- 

II 
II 


No.  1,  preceded  hy  supc  rtonic  chord. 

No.  2,  jireccded  hy  mediant  chord  (not  often  used).  All  these  exam- 
ples should  he  written  in  dilTerent  inversions  and  positions  in  all  the  keys. 

We  give  an  analysis  of  one  example  to  help  the  student  in  analyzing 
the  examples  which  follow. 


\ 


I   1 


7//E  ELEMENTS  OE  VOCAL  HARMONY 


^ 


^Tl^pr^l 


•    *    1 


I      1 


»  ■» 


1   * 


•    •    f 


:  ^^^in^iii^T-n 


1   ,.l,.v,.„lh  ,l.o,,h  s.v,.n,l,  at  1..SS.  fit.l,  at  t,.,.,  ("Ho-cl  '..V  t™"--  «"!' 

i'';:;*:;:::;:;'r:;::it:r::i..,.K.....v^r»7.-^ 

■  UT  stili..nuv.     7,  aon.iiuml  (.liininislu-.l  sevontlO  »'f  (-     8,  .  >n  in.uu    > 
F^h  nth    -ul  uu„nr  ninth:  snerossion  of  cl..minants.     9   dnnnn.nl 

!,  ;;  l..:'.^;;;'  an.l  nnn...  ninth.     At  ;>  the  seventh  IP  ascends,  because 
the  bass  takes  tlie  third  of  tho  tf.nic  A. 

,,  ,h„  rust  exann-le  tl>e  <>h-venth  <.hords  arc  nmrlaMl +. 

1„  an.ly/.inK^  st.Ue  ^vhieh  n.en.her  is  at  the  bass,  which  at  tht  top,  and 
which  pro.uTfssion  is  <,nven  to  the  eliord. 


row 


»- 
It 
T 


n 


& 


:5 


CHORD   OF  KLIAE^'TII   AM)    TIlIRTi:E.\Tn 


+ 


i   '  r 


\f^ 


1  I         1 


St 

r 


141 


'5' 


=1- 


TF^n 


^ 


KIU 


lUowccl  by  tonic;  fifth 
1  lit  top,  lil'tli  at  bass. 

to  root  of   touic.     4, 
lomiiiaiit  of  F,  acconl- 

(lomiiiaiit  clovcMilh  of 
;  the  sovcntli  and  fifth 
(f  V.  8,  (loniinant  of 
iniiiaiits.  9,  dominant 
h  IP  ascends,  because 

:ed  +. 
which  at  the  top,  and 


'i— 

-  *  - 

r 

-1 
-\ 

m 

1 

—J 

— i 

f 

1 

1 
-•• 

ri 

— *  _. 

-zr. 

-JCZ^ 

-   (5- 

=4= 


3 


f\  -  ^      <5,.7r:r      •     I-   ,6,- 


1 


'!?•;•* 


5*       • 


F- 


I 
r     i 


"^- 


-.4  •   ST  -U- 


;r 


=i  =1  \-T--'^ 


f>       -5 


-5-         ^ 


^       ^ 


->^ 


..|l^lt|.„t:-p. 


~r 


_-^  t""  *s. 


^ — I 


F- 


1!> 


r 


T   r   i   I    !   ^ 


__-<?-_ 
^5-^" 


iri     <i 


Ot.. 


-F  r  '  f 


.^     r^    I   .■5'     ■S' 


^    '^    I    /S,      •> 


'>:>-< 


n 
II 


V^Ull 


•.     o 


II 


REVIEW 


1,  "What  proiiressions  may  the  fonrtli  jxroiiii  liavoV 

2.  Give  the  movomonts  of  the  uieuibei-s  of  the  chord  iu  the  first  progression  i 
Thesecoua?    The  Unrd? 


14: 


THE  ELEMENTS  OF  VOCAL  JIARMOAV 


'^.  How  may  the  so(|UI'Ikh"  of  doiiiinant  liannonioa  be  made  with  tliis  group? 

1,  How  may  tliis  <.'rou|'  I'l'  cliaiifiod  to  the  fifth  ^'roiip? 

;>.  Does  tliis  fhan^'o  affect  tlic  profrreswiou? 

(').  Of  wliieh  (le.Liroi's  of  tlie  scale  docs  this  chord  consist? 

7.  What  is  the  l»esl  way  to  introduce  the  eleventh? 

8.  What  is  the  next  hest? 

il.  (live  ti.J  movement  of  the  members  of  the  sixth  group,  of  the  eighth,  of 

tlu;  ninth. 

10.    Which  of  these  is  most  commonly  used? 

XoTi:.  — Thesd  variiiiis  iiroups  are  often  used  by  modern  composers,  witli  cxcolleiit 
..(Tf.'t,  in  %Navs  that  ilo  not  conform  to  any  of  the  rules  here  pven.  This  free  use  of  disso- 
nam  opMibinatinns  is  HViuTallv  found  in  inslninicntal  works;  it  is  hardly  possible,  and  not 
to  !,.■  .-ornniended  in  vocal  writin,!,',  which  should  always  !»•  characterized  by  smoothness 
:ind  melody.  Then  the  free  use  of  these  dissonant  eond>inalions  renders  the  intonation 
so  (lillicull  for  voices  as  to  make  it  wcU-nigb  impossible  to  siny  them  in  tune. 


. 


rOiXy 


SUPER  TOXIC  HA  hWrO.W 


143 


iiiado  witU  tliis  group? 


ist? 


roup,  of  the  eighth,  of 


oinposers,  with  cxcolleiit 
This  froc  use  of  di.s.so- 
i  liiirilly  jiossihle,  and  not 
ractcri/.i'd  by  smoothness 
,s  rundurs  the  intonation 
hem  in  tune. 


CHAPTER  XXIV 

SI  TEUTOMC   HAKMONY 

n-MIKUE  is  another  way  of  troatin.^  chor.ls  of  tin,  sevcth  an.l  ninth 
TT  t  u.  distinguishing  featuvo  of  which  is  that  th.  scvntl^  ,s  stat>o nars 
.,;a  iJ  nos  the  root  of  tho  foUowing  dn.r.I.  A  ...nth  or  n.nth  chonl 
^  t^  n  this  way  is  oalU-.l  a  s.p.rU.ac  l,.nn..,n,  to  .hst.ng.ush  a  frc..> 
TZLnt  hannony.  It  is  so  calh.l  hooaus.  its  root  -^  ^  -•;;;;;• 
the  sunortonio  of  tho  s.ale  of  whi.li  its  stationary  s.v.nli  >s  the  Ujtu.tc. 
The  cxunu.le  that  follow,  will  show  how  the  various  n.etnhers  luo^c. 


Root 


N„.  1,  suportonic  Imrmony  of  C  naj..,-  witl,  ..ap.'  "mtM  ll.o  "-j™ 
ninth  i,  :«io„ary;  it  .«co,ne»  tl,e   tl.i,-,!  in  l,c    ';;;'-;,  JJ'^,;;',!^ 

,' c  c  lolontly  thoy  n,oot  „n  tl,„  r,f,l,  ..t  tl.c  ton.c        ll,o  .-Kit, 

X'ted  a,  ri«»,  muHt  also  go  to  the  lltth  of  the  ton.c;  tUoiefo,.  tho 

tmiip  i>^  in  its  second  inversion.  ^^       t 

tio  "      he  Han,e  hannonv  h,  A  minor;  tho  niotl,  i«  ...ino,-  aeoonhoK   o 

tho  la  ;  II    t  0  0  „i..th  „.u»t  i.  .oinor  in  ,uin„r  1<oy,.     A»  the  ,„a,„.  ,u„th 

r»t    io,„uy  in  n,ajo,.  U,s,  the  n.inor  ninth  ,m.«t  1..  »o  n,  nnnor  ko^s 

No  3  is  the  same  as  No.  1,  exeept  that  tho  nn.tli  ,»  .mnm-.      1  ^  l"""^' 

,vith  C  1  o  .  the  ninth  ha,  to  ascend  eh,on,atically.     H  the  root  .s  used 


n 


■44 


///A    /■././.. I/A. \/.s    cV'   VOCAl.   il.U<MO.Xy 


uilli  llii'  iiiiitli,   niif  !iu'iii!)t'i    imist    lie  (iiiiittcil,   in  l'<iiii-j)iiit  writiiij,';    tlio 
licst    to   (imil    is    l!it'    lil'tli. 


!>  -. 


f7 


^ 


H" 


?. 


IIJIJ 


1 


Z-Lt 


Till'  altiivc  iiic  tlir  tliivi'  |)i'c(('(liii<4  clinrils  with  tlii'  liftli  (uiiiltcd. 

l/ikc  till'  (]iiiiiiii;iiit  liiii'iiiuiiv,  tliis  clmril  is  t,'fm'rall3' iisrd  in  j^'roups  (if 
[u\\v  siiiiimIs.  cillicr  iii'ii  1(1  scvt'iitli  <ii'  tliird  to  iiiiitli. 

Il  is  most  riv(|uc.iiiy  used  v.itli  tilt-  third  ;is  a  hass;  next  witli  llie  lifth  as 
:;  li.iss  When  tlic  root  is  in  one  of  tlic  ii|i|icr  ]iar(s,  it  ^'ocs  lo  the  third  of 
tlic  toiiir.  If  the  I'oot  is  used  as  a  Itass  it  must  lie  repeated  in  an  njijifr  part 
ai:d  tlie  fifth  must  he  omitted,  otherwise  the  tonic  that  foHows  will  he  with- 
out its  third. 


6  7 


I         1 


»j 


m 


r     i'      I     1 


wn 


2    ^ 


AIM 


IIIlII 


\o.  1.  third  at  liass.  I'oot  ]ii'esent. 

.\o.  -.  Oiird  at  1    ..s,  major  nintii,  root  oiuiKcih 

No.  ■'!.  third  ai  liass,  iniuoi"  ninth,  I'oot  omitted. 

Xo.  4.  fifth  a'  hass,  root  iiresent. 

No.  o,  lifth  .it  liass.  major  i  uitii.  root  omitted. 

No.  <i,  iifili  ;;t  liass,  minor  ninth,  root  omitted. 

IS'o.  7,  root  at  liass  and  at  top,  fifth  omiite<L 


uo.vy 


im-j)iiit  wi'itiiij^';    tlic 


rj 


liflli  (.milted. 

ill}-  USl'tl    ill  •rroilj)!'!  (if 

next  witli  llie  liftli  as 
it  ^'ocs  1(1  the  third  of 
ciitcd  ill  an  uiiiiiT  part 
I  l'()lhi\v,s  will  hu  witli- 


6  7  I         , 


t-- 


"^    o 


II 


mM 


^-^--t-:   ::f?-tr 


1 


.si7'/:A'ro.\/c  i/.ih\Mo\y 


145 


Write  these  elmrds  with  evei'V  pessihle  ehaii;^'e  In  the  position  of  the 
„p.„.r  m.tes:  then  write  t!u  i.i  in  -ther  k'vs.  'Hi''  seventh  and  uiiiK.r  im.lh 
mav  he  used  as  hass. 


:1     I      -1 


M    ^\%   ■iW 


X„  1  seveiitl"  at  hass.  iniiK-:'  ninth,  n-ot  <miitted.  (Tlie  red  and 
„„•,[,,  "lin'th  d..  net  s.mnd  well  when  seventh  i.^  has^.  ,  This  eh-rd  is  olteu 
wiitteii  as  at  X...  -l;  that  is,  with  D-  instead  of  K\ 

No.  o,  minor  ninth  at  hass. 

Ciioiiij  <»i-  Ai(;mi:nti:i)  Sixth 

This  name  is  -iveii  to  a  eliord  that  is  made  from  a  d.Miiinant  or  a  snpei- 
Iniiie  harmony;  tiist,  third,  iiftl.,  seventh,  or  third,  fifth,  seventh,  minor 
ninth,  hv  (  hroinatieally  h.woriuy  its  liftli. 


O' 


or 


or 


or 


NuTK.  -  Altlu,u,l,  this  .■honl  M.ovos  lik.  a  .lon.inant  uh.n  it  ^o.s  to  ""■H-onl  of  G, 
,  .bora  of  <;  can  hanllv  lu"  -■ou^iaen-l  as  a  (onic,  1ml  as  th.  .lommant  of  (.  If  it  .s  a 
„•>,.   i,  OU..1,.  to  Honn.l  ...i-Hv  ^vuH  if  niiuor,  whieli  it  do(3s  not,  ulthouali  u«c.l  soualinK. 


liv  iikmIith  (•(iiiiiioscrs. 


10 


^ 


F 


146 


THE   ELEMENTS  OF   IVCAL  //.tA'-UOXV 


No.  I,  I)  l'"S  A"*  (';  iiri.^'rfs.siii;,' as  sii|icitiiiii{' (if  (' iiiitl  (litiniMiiiit  of  (i; 
the  inut  pivst-iit,  Ihf  It.wi'iftl  lillli  ill  the  bas.s  (^il  is  iicuiiy  ahvaya  at  llii' 

Ixiss ). 

Ni).  "J.  i'»)t  1)  oiiiittcil:  iiiiiiur  iiiiitli  iiililcil. 

Nn.  .".,  till-  sfvnitli  limy  Ih'  .ImiMnl.  as  in  tliis  fxaiiii.lf. 

Tilt"  interval  iK-tweeii  .V  ainl  I'-  is  an  anKintiitnl  sixth  and  Kivfs  its 
uanic  to  the  .lionl;  the  aut^niente.l  sixth  (ten  half  steps)  aii.l  its  inversion, 
the  iliMiinishetl  third  ( -J  half  steps),  eoniplete  the  list  of  intervals. 

The  aut^'Miented  sixth  elioid  with  root  [ncsent  is  called  the  I-'ivneh  sixth ; 
with  minor  ninth  (mot  omitted),  the  (iernian  sixth;  with  the  seventh 
th.nhled.  the  Italian  sixth.  These  names  are  little  used  now.  Althoii^'li 
any  menduT  of  the  chord  may  !..■  used  as  a  Lass,  the  ioUowini,'  inversion 
is  "the  ..ne  most  freipiently  used,  preeeih'd  hy  the  suhdomiiiant  in  the 
tierce  position. 


1    T^    '"i 
1  -^li    € 


ili[jiinir<liiMi 


s  ] 


Study  the  analysis  <,'iven  of  the  following'  example,   then  analyze    the 
exercises  which  follow  in  tlu'  same  way. 


fj      r 


1 
5^  I  ? 


-:r=\ 


-rit 


-0      ?0      '   :f> 


^:--- 


3# 


V" r 


r 


11   hz4 


-5* 


YWWms  ] 


.^.         -fs- 


l„J.-- 


iiimi 


-1— i?^ 


2'y 


■h 


.'  iiiiil  (loiiiiMuiil  i)i  ( i ; 
.s  iii'aiiv  ahvay.s  ut  llir 


IIIJiU'. 

nl  sixth  and  ^'ivcs  its 
Icps)  aiitl  its  invci'sioii, 
of  iiitcivals. 
allfd  tlic  l-'iTiicli  sixtli; 
tli;  with  the  seventh 
used  now.  Althoni,'h 
hi'  t'nlhiwini,'  inversion 
'   ,siih(h:iniin.inl   in   tho 


ijile,   then  analyze    the 


IW^PO'  3 


ir 


I — r^ 


I      ' 


SL/'JiA'/i\y/C  HAN  MOW 


«47 


10 


l:j    11 


11 


«    ^t 


?  '  i"  r  »r  r  " 


Is  ?i:  I 


IT) 


rx-i=fimi=:  :  3 


10 

\ 


"^9    •X* 


'h* 


10 

-I 

I 

r 


i-^. 


a 


-9 


n 
II 


1  and  1',  suportonie;  hannony  of  C.  :'>,  the  a.hlilion  of  !<>  makes 
this  the  dominant  seventh  of  K;  it  is  followed  hy  the  dnnunant  ..f  Us 
relative  minor,  4.  H,  .lin.inished  seventh  of  ivlative  minor.  C,  dmnnished 
seventh  of  ('.  7,  same.  S,  dominant  eleventh  of  ( ',  foll..ued  l.y  (»,  snj.er- 
,..nie  harmony.  (This  progression  is  often  nsed.^  10.  snpertonie  harmony 
of  C.  11,  snpert.mie  harmony  of  (i.  l-\  Same;  of  1)  minor.  1:5,  dom- 
inant eleventh  of  F,  followed  l.y  an-meuted  sixth  (D?  is  the  h.were.l 
lifth).  This  procrrcssion  is  the  same  as  No.  H.  1.'.,  (h.mmant  eleventh  nl 
A  minor,  followed  l.y  supeiK.nie  harmony.  10,  17,  augmented  sixth  of  A 
minor,  f..ll..wed  l.y  dominant  (DS  hein^  the  raised  nc.te  must  U"  the  third; 
then  H  must  1k)  root  and  KS  tho  lifih;  thereff.re  FSis  the  lowere.l  litth).  IS, 
domiuuiit  eleyeuth,  followed  by  augmented  sixth.     ll>,  supertonic  harmony. 


f  M 


148 


y//A   i-:LLME.\JS  Of   IVC.IL   ilAKMOAV 


'      #    I    -s* 


:•    « 


•  >■"■•'-"     r       '  r      ^    ' 


6  -  : 

,   ■    ■    '     .       .1 


J.I     J 


I  ! 


•  •IS  ••      <» 


(iL==s 


I  •      •    I  '^        o    I    •  - 


•  « 


i:j 


f^^i-^^iR^ir?!^i-1^i.i^f^:i 


•  ^.* 


.  •  .  ^ 


I         ^'^•li 


>  rr  ?    •  - 


•if-    • 


> 

^ 


-^^b^—fh::.!  •-rz^tlU 


.SXV'A'A'/f'AVi'  HARMOW 


MO 


f* 


5^ 


f»v 


:^ 


.1 


=1 


^' 


S'' 

: 

v^ 

^ 

1 

1 

t 

3"' 

■s- 

'j 

(& 

'^ 

1 

1 

4 

^ 

^, 

S*' 

^ 

9- 

f'' 

II 
II 


REVIEW 


Jf  • 


MipiTt 


I. 

;'). 

fi. 

7. 

H. 

It. 
10. 
11. 
1-2, 
13. 
11 
!.■) 

IC 


Wlmt  is  llKMlistin-uislmi-  f.-uturc  in  ll.o  n.ovonuM.t  of  JuMncmbors  uf  -x 

mif  imrinoiivV  ,  .i   i        .     v 

\\  i.irl,  nu'inlKM-  of  tlu>  fnllnwin-  .•l.onl  .loos  U.o  stnt.onary  srvonti.  lim..,.,  . 
W  1,1,1  is  tiio  naim-  of  tl,.-  rl,..,.!  tl.Ml  follows  Iho  suiu-rto,,,..  l,„n„o„y.' 
llow  (Iocs  tln!  major  iiii,lli  movo? 
How  (Iocs  tlic  minor  ninlli  nu.vo  in  major  keys? 
How  in  minor  keys? 

To  vvl.ici.  mrmhors  of  tl,c  t..ni.-  <lo  tin"  ti.ir.l  and  (ifth  movo.^ 
To  wl,i<h  tl,c  root  ^s\m^  at  ti.c  bass?     ^Vhl>n  not  at  tho  bass.' 
In  what  forms  is  this  clionl  <.'on('rally  uschIV 
Wiiich  nu'mbi'r  is  most  friMincntly  usimI  as  a  bass? 
\Vliat  other  inversions  may  be  used? 
How  is  :in  awLiinentoil  sixtl,  elioi'tl  made? 

Wliicli  menil-er  is  ^rcnerally  used  as  a  bass? 

AVli'xt  are  the  prouiressions  of  tliis  cliord.'' 

In  what  form  is  tl,e  inversion  of  tbis  eiiord  jronorally  use.l? 

What  names  are  given  to  the  various  for«>s  ir.  >vhich  thm  chord  ,s  uscd.^ 


i^ 


150 


THE  ELEMKXTS  OF  VOCAL  HARMONY 


CHAPTER  XXV 

CIIOKDS   OF   PARALLEL  MINOR   AND  AIGAIENTED   FIFTH 

TllEIlE  still  n'liiiiiu  sonio  otluT  ways  of  treating  accitlentally  raised  or 
lowered  notes  by  means  of  eoiunion  chords. 
The  lowered  thii'd  ami  sixth  of  the  scale  may  be  harmonized  as  thirds  in 
common  chords,  or  the  lowered  sixth  may  be  the  root  of  a  connnon  chord 
in  which  the  lowered  third  is  the  tifth. 

Thus:  C  E''  (J,  F  A-»  (!,  A^  C^  i:^ 

+  +  +  + 

It  will  be  found  on  examinijig  the  scale  of  C  minor  that  these  three 
chords  are  found  in  it.  Xo.  1  is  the  tonic;  2,  the  subdominant;  iJ,  the 
chord  on  the  sixth.  (!  minor  and  C  major  are  called  paralhd  scales  liecause 
they  be,!4in  with  the  same  keynote,  and  when  the  above  chords  ajipcar 
in  C  major,  they  are  said  to  bo  horrourd  from  the  parallel  minor.  The 
following  examples  will  show  how  they  are  generally  used. 


.  j 


1 


-f>- 


'g 


■t 


T 


+ 


-    a 


— ^ 


4 


:^.- 


+ 


T^ 


r 


I 


.  ^ ts- 


J] 


I — 


-.,5, .^ 


r 


^\ 


fl 


'J/OAT 


AIEXTKI)   FIFTH 

;  lU'ciclciitally  raised  or 

larmoiiizetl  as  tliinls  in 
ot  of  a  coiuiuoii  chord 


CHORDS  OF  PARALLEL  MLXOR  AXD  AUGMEXTED  I'll-rit    15I 


No.  1,  preceded  by  the  tonic  of  the  major,  foUowed  by  the  dominant. 
No.  2,  preceded  and  foUowed  by  tiie  dominant.     (N.  W.    The  dominant 
is  always  a  maj(.r  chord,  whetlier  the  key  is  major  or  minor.) 

No.    3,    subdominant   of   minor,    preceded   and   followed   by    tonic  of 

major. 

No.  4,  same,  followed  by  dominant. 

No.  o,  the  three  chords  of  the  parallel  minor  written  in  succession. 

These  chords  must  never  follow,  or  be  followed  by,  one  of  the  minor 
chords  belonging  to  the  major  scale  (/.  c,  the  mediant,  submediant,  or 
snpertonic)  with  one  .;:ueption,  as  follows: 


I^ 


-o- 


ninor  that  these  three 
'  subdominant;  3,  the 
parallel  scales  liecause 
above  chords  ajijjcar 
parallel  minor.  The 
used. 


+ 


-:^ 


1 


•5* 


:P. 


^ 


^ 


0 


Cf 


1 


--.»> — 


the  submediant  followed  by  the  subdominant  of  the  parallel  minor. 

The  f-econd  degree  (supertonic)  of  the  scale  may  be  lowered,  and  may 
have  a  major  chord  written  on  it;  if  used  with  the  root  at  the  bass,  it  is 
followed  by  the  dominant;  if  with  the  third  at  the  bass,  it  may  be  followed 
by  the  domhiant  or  the  second  invei-sion  of  tlie  tonic;  when  used  this 
way,  the  third  is  generally  rei.cated.  This  chord  may  be  preceded  by 
the  tonic,  subdominant,  or  one  of  the  chords  of  the  parallel  nunor. 


3i:3 


t^-=^ 


1 


W^^fy 


a 


^-FJ-  ?L 


si  =1 1  ^d 


-i 

—I 


1^  ^aMI J:lil^llISll^l-E£l 


|] 

0 


Nos.  1,  2,  3,  4,  chord  on  lowered  snpertonic;  root  at  bass,  followed  l)y 
dominant  in  various  positions. 


'52 


■nu:   El.EMliMS   01-    VOCAL   IIMlMOyV 


'^:^;::,;r::::;:";,::l';:':; ^- ^■'""•■■"  «•""■;  v::;";::':!: 


V;      ^^      :^      '^       ^^      '^      -^ 


3    I 


II 


rr-  -^--1 


I 


Y- 


t- 


\"   ^Klll 


No   1    tdiiii' wilh  iHii^iiii'iiU'il  lilili- 

^„.  ,.  .„l.,l,.n.i..»".  «i'l.  ""■^""'■"."■;!,';["'-, „,„,„,,,  „„„  „,c  K,.v..,„l,  n...y 

,.,;:;v::r;;;::::i:;;::;'^-:  ■:-:'';-.■.. >■ --^ -' 


1  2 


[( 


-^As 


lllil'ls. 


Ill  tllll'lt 


N„.  1.  h,  .l,i,*.  Rives  ....>..■  .l.i.>',  .li,mni»l.o.l  flCl,.  mmov  sov,.,„l., 
""■■;'""■.  'iVu,i,'.l/''''i';v.  ,,ln,i„l.l....l  lUin,,  ,li...i"isl..-.l  lU.l,.  ,lim-mW...l 
,      L  t  a  ,..;,....■  ..iml.  is  a,l.l,..l  a,„l  .1...  .«■.  ".m....!. 


wrd  liy  tli)iiiiiianl   nv 

i'th  of  i'  iiiiijiir  I'lioid. 
.  iifxl  (•li..i<l,  I'Ut  it  is 
linid  with  ^ti;4iii»'>i''«''' 

siali-.   only    lliu'i'  "f 
■(I  ill  lliis  \v;iy.      Ill  <' 

iipiuMr  as  iiULiiiifiiifd 
\iiv  (IkiiiI  iiijiy  l'<'ll«i\v 

;ccllils. 


»    1 


<>      ^^ 


II 
II 


,'  lliat  the  seventh  may 
•  have  llie  tiist  (iv  third 

lie  I'ouiid. 

rd  the  letters  iiuist  lie 

th  ehoi'd.      'rhus:-~ 


I 


il  lii'lh.  miunv  seventh ; 

lislied  hi'th,  diminished 
iiiished  seventh  always 
tied. 


CHORDS  OF  PARALLEL  MINOR  AND  AUGMENTED  FIFTH    153 


1^- 


:t=- 


:^^ 


-zJ^ 


^7=^ 


p; 


i^^fe 


d 


i|§^l;ri^^«=El^lil^i:^-^^ 


N.  B 


<5>- 


_t=r 


^ 


^^3-i;i:^ 


-0-- 


1 


^S'  ^f>  -O-  -Cf 


=t-:r-rn: 


* 


::gi=: 


-J,. 


-^t- 


^=1^ 


H;:::::t:- 


H 


N   r,      See  -roups  G  to  %  page  127,  derived  from  the  dominant. 

Wo  have  now  given  all  the  combinati.ms  and  successions  that  may  be 
brought  under  definite  rules.  The  few  that  are  not  accounted  for  may 
be  learned  bv  observation  better  than  by  attempting  to  give  rules  for  them, 
as  the  result\vould  most  likely  be  a  "darkening  of  counsel  by  much  speak- 


ing. 


We  venture  to  say  that  if  the  rules  and  examples  given  here  are 


I  ^ 


>54 


Till. 


■:  ELEMENTS  OF   VOCAL  IlARMOXY 


'^  ,  .lliVu.ultv  will  be  louiul  in  iinalyzing  any  vocal 

cmiposituni  xvhatM.oci,  ui,   ^\\  •  i^,^,_       We  appriia  lu-re  a  table 


iuul  il«  rolalc<l  <4V""1'. 


oxn  ..^^1 F'  1^1^^ ' 


Ddiiiinant  of  C. 


^;? 


Sill"  Ttim. 
i.f  K. 


Doniinnut  nf  F. 


i  DoiiiiiiiHit  of  (i 


""1 


n-wwr^-^^M^ 


Suin'iloii. 
of  C. 


_J 


i  1)0111.  of    1'-   III'""''- 


1^ 


i% 


f,        o      \—  ^ 

Suiii'rton.  I  — ^ 

',,.,;  I    tMm.rtnii 

\ _■' !  IlillioV. 


zt£>- 


Siipcrtoii.of  K 
minor.    ' 


z.'> 


No.  1,  coumu.u  chonls  of  the  scnU". 

1    ,.,ic  nf  till'  iiaralk'l  iiunor  scale. 

ko'.  :'>,  coMuaon  cbonl  on  lowered  sui.erU.mc. 


onted. 


member  of  the  group  may  be  used. 


J    -'J 


5^"5-K5 


i-^     ;$ 


ilis^^-PiWfei^^^ 


■7-,^- 


-/>     -o- 


e3:^CExi^i^il^^l&^^^^ 


4:: 


i 


rOA'r 


luuilyziiig  liny  vocal 
sc'd  wilh  thu  gift   of 

iilipriitl  hi'i'o  a  table 
ssiblo  in  the  key  <..i  C 


n 


r^ 


?rl 


)oniiniiiit  of  (i. 

'Sujifl-lOll.       1 

of  C. 


2?:- 
fe 


1 


JlllIl'T. 


z=:^< 


Su]icrt(in.i>t  1'^      I 

'     r.  I 

m 


luiiior. 


't        - 
T^- 


■a  supcrtonics  of  every 


5    ?»:5  1 


=1- 


.<>-  -  ^     -o- 


CHORDS  OF  PARALLEL  MLXOR  AND  AUGMENTED   El E 111    155 


^  — Si 


0        i^ 


r^:.-:^  W-rllq 


^^^. 


f:i 


1  a 


FS:^ 


^— 4- 


:5r- 


-er 


:-4|  =t:--=t,^ 


5^:^ 


FTl 


1,  F  A  C,  lowered  supertoiiic  of  E  minor. 
•2,  VP  D  F,  lowered  supertonic  of  A  minor, 

3,  E?  G  ir,  lowered  snpertonic  of  1)  minor. 

4,  A?  C  E^,  lowered  supertonic  of  (i  nuijor. 

5,  (i?  B?  D^,  lowered  snpertonic  of  F  major. 

(J  and  7,  lowered  supertonie  of  C  followed  by  snpertonic  harmony. 
This  is  the  only  way  hi  which  it  is  possible  to  write  in  succession  two 
chords  having  the  same  letter  in  different  forms  as  the  root,  thr  roni  of 
the  sixth  being  \y>  and  of  the  seventh  Dl 


REVIEW 

1.  How  niiiy  the  lowered  third  and  sixtli  of  the  scale  be  treated? 

•2.  From  wLiat  scale  are  these  chords  borrowed? 

,'5.  Wliat  arc  scales  be<;hniin<r  on  the  same  keyiinte  called? 

4.  Mow  must  these  chords  be  preceded  and  followed? 

A.  What  exception  is  there  to  this  rule? 

n.  How  is  the  chord  of  the  lowered  supertonie  formed? 

7.  How  is  it  used? 

8.  How  mav  some  raised  notes  be  treated? 

'.).  Is  this  nliiiinented  fifth  really  a  member  of  the  chord? 

10.  How  does  it  movi'? 

11.  How  is  the  auumented  fifth  chord  foil-wed? 

13.  May  the  dominant  seventh  W  us.^l  witii  the  augments  fifth? 
i;"!.  What  prop-essions  may  it  have? 

14.  I^Iay  the  lowered  supertonie  chords  of  the  related  keys  be  used? 


156 


/7/A-  ELEMEyrS  OF   VOCAL  II A li MOW 


CHAPTER  XXVI 

FURTHER  REMARKS  ON  MELODY 

WE  hiivo  alroiuly  explained  and  illustrated  the  perfent  cadence 
CChipter  XVIII).  This  cadence  is  used  at  the  end  ol  each  section 
of  a  melody' Ovith  occasional  excepth.ns).  At  the  close  of  tl.e  lirst  and 
third  phrases,  what  is  called  a  half  cadence  is  often  used  A  half  cadence 
consists  of  the  tonic  chord,  secoTul  inversion,  followed  by  the  dominant 
chord  as  the  linal  chord  of  the  phrase. 


:+=^ 


raotivo. 


Sec.  iiiv.       Dom,  na 
of  touic.      fliml  I'liord. 


■-i-^A^E^k^^ilE^^Et^M 


1 


f"r'  "p 


--^ 


r^ 


f 


rhra!-\ 


This  half  cadence  may  he  made  in  any  related  key.  In  the  example 
that  follows,  the  same  phras.,  of  melody  is  made  to  en.l  with  a  half  cadonce ; 
first  in  F,  second  in  G,  third  in  A  minor,  fourth  in  D  minor,  litth  in  b 
minor;  i.  c,  all  the  keys  related  to  C  in  turn. 


-V 


y^  — -ir 


r 


■r^- 


^ 


:J 


r 


i: 


V^'f-f^T 


1^ 


rf 


.-.^JlM!Si^=vai~ 


FURTHER  REMARKS  ON  MELODY 


157 


r  T 


A^-^r 


I 


In  the  more  modern  forms  of  lyric  melody,  nu,dulatiot>s  outside  of  the 
related  group  will  often  be  found.  Melodies  also  may  be  found  m  winch 
there  is  no  cadence  or  half  cadence  until  the  end  is  reached 

It  is  inn.ossible  to  give  rules  that  will  cover  every  departure  that  uk  >  be 
„.ade  fron/the  simple  fonus  here  given.  But  m  the  great  '-j;;>''  •>  ^ 
lyrics,    the    rhythmical    basis   will    be    found    to  correspond  with   these 

"Tlld;,  as  in  all  other  branches  of  the  study  of  music,  as  nni.oa.iM 
other  subjects,  the  stu.lent  must  help  himself  by  study  and  o'---  -     '^ 
good  models,  a  storehouse  of  which,  of  e'.  ..ry  degree  of  «-!     x  ty,        Y 
be  found  in  the  books  of  the  "Normal  Music  Course     and    he     (  ecluu 
Sedes  of   Study  and   Song,"  the  songs   of   Schubert,    the    I'art-songs   of 

Mendelssohn,    and   others.  •        t..  i.^irrli^l, 

We   append  a  few  remarks   on  setting  poetry  to  nu.sic      In  Kngl  sh 

T)oetrv  what  is  called  a  poetic  foot  consists  of  two  or  three  syllables.     L^  c  ry 

:«  of'  p    t;  c^^sists  of  a  certain  nund.r  of  these  feet.     The  comn.one.st 

ot  is  made  up  of  a  short  or  unaccented  syllable   followed  by  a  long  ox-  a^ 

cented  syllable.     This  kind  of  foot  is  called  an  landnis,  and  verse  wi  tt  n 

v"h  thi    foot  is  called  Iambic  verse.     The  most  familiar  examples  are  to  be 

found  in  hymns -this  sign  ^  is  used  to  denote  a  short  and  tins  -  a  long 

syllable. 

6  rCu  I  dfr  thanks  |  t6  God  |  above  \ 
This  line  has  four  feet  in  it.     A  stanza  (generally  but  wrongly  called  a 
verse)  containing  four  lines,  each  with  four  Iambic  feet,  is  called  in  hjm- 
nology  Long  Metre.     Thus : 


IT 


15S 


Tin-  Ei.Kyn-STs  of  vocal  Ih^-^MOXV 


0 


irn  '  cl'T  tbfiuka  \  f'       f><''<l 


1  m'i',  0 

'n.c.       fuuu  i  tuin  of  I  c  UT  1   •.:.!    lovo 

Wl.osi-  nu-r     cy         f«r.n     tl.rou-1.  a  :  <^e8   r.-t 
lias     btooil  I  aiul     nhall  ,  I'ov  e  :     vor  last 


T.  wo  tak    away  uno  foot  from  tl.c  second  an.l  fourth  i:.es,  xvc  got  what 
is  called  Common  Metro,  or  Hallad  Metre. 


6  thnU 

I  lift 

In         all 
Dear  Lord 


from  wh.-.m  I  all    g-'.od  I  ni^ss  Uows 

inv      iH'art     to      thee 

,„y          sor     rows  con     flitts  woes 
re         mom  |  her     me.  | 


Bv  taking  away  a  foot  from  the  ilrst,  secon<l,  and  fonrth  lines,  we  get 
what  is  called  Short  Metre. 


A  chrirjie 
A  (ioil 
A  ne 

And      fit 


tn  keep  I  I     h:'''VC  I  — 
to     ^1<'     ri        f  -   I  — 


vcr    dy  I  ing  soul 
it      for  I  the    wky 


t5  silve 


tlr>  U.at  of  t„e  „L.u«  in  |  ti„,e,  o.  „n  t„o  .i«.  in  %  tin.e,  or  U,o  f.. 
or  tomth  in  %  timo.    Tl.orcforo,  in  setting  lan.lnc  verse,  always  bogn>  w,th 
tlie  last  beat  of  a  measure.     Tims : 


A  I  clirirgc  tri  keep     I 

rl  f'  r  r    r 


have 


F„nr  lines  of  Long.  Common,  or  Short  Metre  »''"'-'  "jf^'S^,'*;: 
of  musie,  if  written  with  tour  syllables  to  the  measure  (the  best  «,ay  to 
Jrite  it)  or  sixteen  1.,.,  if  written  in  %  time;  i.  c,  half  notes  to  the  me^- 
„re.     Long  Metre  will  make  eight  measures  all  in  quarter  notes;  but  m 


MOA-y 


1  pfi',  c 

il    lovi' 
,or  last 


irtU  lilies,  \vt  goL  svhat 


13    flows 


ts   WOl'S 


lid  fourth  lines,  we  get 


save 


;  must  always  coincide; 
■viM-  Ik>  set  on  the  iirst  or 
•St  in  I  time,  or  the  first 
verse,  always  hegin  with 


liave 


shouid  make  eight  bars 
ieasure  (the  best  way  to 
:.,  half  notes  to  the  meas- 

in  quarter  notes ;  but  in 


l-URTHER  REMARKS  ON  MELODY 


159 


C„„„„on  Mere,  U.  seeou     u,„,      ..ntl,  ".';";'  „,  '      :;;: 

„„,...,  to  (ill  up  u,e  f..ot  Chut ;» '-"'"f ;",',';   '  ,„;,,.,,  ,,,,™,o„ 

a,ul  SfClions,  a.ul  the  U.w  is  »u  ..i>l,(r..ms  that  cl»    v..- 

'"  'in  Short  Mere  thorc  ,„ust  Ik-  a  .io.tcl  1..I1  noto  :,t  the  ,».!  o(  .he  li.t, 

gccon.l,  a.i.l  fourth  linw,  for  the  sii.n.'  .vas,.u. 

If  a  Connuon  Mcfe  tune  is  vvitten  in  %  ti.ne,  Ihete  n.ust  1.  _two  n.e,™- 
>„.,  at  the  end  of  the  secon.l  an,l  fourth  lin^s.  I-ouf,  Metre  iu^  tune,  .«u 
syllahles  tn  the  uirasuie,  make.'  sixtce,  measures. 

When  t.,0  accent  o,  the  '-•-V^S::  a™  e;;  ^Htteu  in  this 
syllahlc  is  accented,  tin,  (o<     -^  ■  ■      1  •        '";"',„,.   „„,    ,,,,ignate,l  hy 

aUvap  end  with  the  «r.i  ..!'  of  a  toot.  i.  ,.,  an  accented  syllal,.. 


Sa       viour 
Ere  re 

Sin        and  I  want 
Thou  canst  1  save 


brOathc  iln 
pose      our 


we 
and 


Tng 


Even 

spir  its 
come  con 
thou  canst 


bh'sslug 

seal 

fr-sslng 


H  and  'i. 


1  i«  o«f  ■..-Jfli  flic  accented  svHable  at  the 

Trnrhaic  vcrsc  must  always  Ije  set  with  tnc  aLLi.iu«-       j 
beg^^r-  ^  fi-t  beat  of  \ho  n.asuro.     The  lo>^,  symd^e  at  the  end 
oShe  scLd  and  fourth  lines  -^^  luwe^a  measu..^^    o^^ 

In  all   the  varieties  in  which  eight  and  se^cn  ^  ^  '-^'^^^  .  ^ 

the  eic^ht  svllableline  ends  with  an  unaccented  syllable,  the  st^cn, 

an  aec^^nted  syllable   except  ^^^f^^  ,,a  verse  written  in  it  is  called 
The  next  kind  of  foot  is  called  a  Dactjl,  ana  vei^t 

n^tnsists  of  along,  followed  by  two  short  syllables.     Dactylic  lines 
generally  end  with  one,  or  with  two,  accented  syllables. 
Thus:  — 


R^>-f ' 


i6o 


THE  EI.EMESTS  OF   VOCAL  IIAKMONV 


Hrlnhtrsl        nn<l 

brst    of     tht^ 

sons    of    th'- 

njorning 

l)"i\vn      on      our 

tlarkin'sa  And 

li'nd  ri8  thlue 

nUl 

Stiir       t)f        llic 

Kiist  llic     ho 

ri       /.on       ft 

doming 

(Juido  wliero  our 

infant         lie 

dt'o     niLT     in 

had 

•    4  • 

Verse  of  this  kind  nmy  bo  treated  best  in  ^  time. 

eight  measures,  as  follows:  — 


Tlie  stanza  will  mako 


IJrijihtost  and  best  of  the     sons  of  the  morning 


r : 


• 


#  • 


Dawn  on  our  darkness  and 


»     0 


0 


lend  us  thine  aid 

9       0       0^ 


0 


The  two  followin;^  lines  are  to  be  treated  in  the  same  way. 

The  next  kind  of'  foot  is  called  the  Anapest.  Ana])estii'  V(  rso  is  rarely 
used  in  hymns.  The  Anai)est  consists  of  two  sliort,  followed  by  a  long 
syllable.     One  of  the  most  familiar  examples  is  the  following:  — 


'Twins  thS  night  1  bPforc  Ciirist 


N<n 


crca     tare  was  stir 


mils  nnd  rdl  I  throi'igh  thi^  house 


rin<r    not    c  I  ven 


mouse 


This  verse,  when  sot  to  music,  must  begin  with  the  last  beat  of  a 
measure,  in  order  that  the  accent  may  fall  on  the  lirst  and  third  beats. 
Thus:  — 


'T\Yas-thc 


0 


0 


ni'^iit  before  Christmas  and  i  all  tln-ougli  the  bouse 


0 


• 


r 


» 
■^ 


r 


Not  a  I  etc. 


In  the  works  of  good  poets  many  departures  will  be  found  from  the 
exactness  with  which  hymns  are  (or  ought  to  be)  written.  The  most  usual 
departures  are  the  introduction  of  the  Dactyl  in  Trochaic  verse,  or  of  tlie 
Anapest  in  Iambic  verse. 

Beautl  I  ful  Is  th{5  |  sun  O  ]  strfiugers  | 


71 


o^'y 


morning  ' 

llUl 

durning 

liu.l 


I'lie  stanza  will  make 


rninj; 

>    • 


ivid 

r 


inc  way. 

iil)('stk'  v(rso  is  rarely 
,  followt'tl  hy  a  long 
lUowing:  — 

irot'igli  thi^  hi'msc 
L-n       a       mouse 

li   tlic   last   boat  of  a 
first  and  third  beats. 


ough  the  houKc 

• 


J  r 


ill  be  found  from  the 
tten.  The  most  usnal 
ochaic  verse,  or  of  tlie 


yURTIlER  REMARKS  O.V  MELODY 


i6i 


rs 


This  is  u  Trochaic  line  in  which  the  Hccond  foot  is  a  Dactyl.     In  the  .k  xt 
example  in  Iambic  metre  the  third  foot  is  an  Anapest. 

Tbuu  iH'ck  I  onf'st  |  wUli  tUy  miii  |  hM  hilml 

It  would  require  a  work  of  some  length  devoted  enti^rely  to  this  subjeot 
tn  tla  it  exhaustively.  We  appen.l  a  stan^a  in  winch  there  are  several 
irregularities  which  very  much  eidianeo  its  beauty. 

And  iW  hOod  |  •'•d  clouds  |  hkc  friars  | 
Tt-11  tlu-'ir  I  iK'uds  in  |  drr.ps  ..f  I  ruin 
And  pat  I  tt^r  tli.'ir  dr.le  |  ffil  prfiyers 
Hut  tlir'ir  prayers  |  i^rc  fdl  \  in  vaiu 

A  much  more  dilhcult  task  is  presented  by  unn.etrical  words,  sueh  as 
mssnu^s  m.  the  Psahns  or  other  books  of  the  lUble.  In  settnig  passage 
0  "  h  ki  ".  inusic,  the  lirst  thing  to  be  observed  is  that  the  nnpor  ant 
lllZ  h  text  must  fall  on  the  accents  of  the  measure;  next,  tha  an 
Tee  tc  I  HV  kil'le  nmst  never  fall  on  the  unaccented  beat,  or  an  unaceented 
S^  c  Ul.  .accented  beat.  All  words  of  two  syllables^ue  e.tl.er  hnnluc 
S'  iove  a  wake,  pro-claTm,  or  Trochaic,  like  Fa  ther,  Sa  vlonr,  Strang... 
rt  en  b  th     3  lables  are  short,  one   is   accente.l,  as   n.erry,  smuer. 

?heiirst  syllabic  must  fall  on  an  accent,  or  on  the  lirst  of  two  notes  to  one 

'^Another  important  point  is  this :  an  article,  P^'^-it-n,  or  conjunction 
should  never  be  found  at  the  beginning  of  a  n^easure.  I  he  ""P  "l-  '^ 
trds  in  a  sentence  are,  verbs,  nouns,  adjectives;  also  pronouns  and  ad^erbs 

"  tI'^^S  of  a  sentence  maybe  entirely  altered  by  a  change  in  the 
emphtLoTceluvin  words  caused  b;  placing  them  in  dilferent  parts  ot  the 

measure.     Thus ;  — 

Thou  art  the  King  of 

f  ;  J  f  r 

Thou 

r 


art  the  King  of 


Is-ra-el 

0  •  0  !^ 

1  /  t       ' 

Is-ra-el 


r: 


n 


p 


163 


77/A-  i:u:mj:\ts  of  i'ocai.  jfANAroxv 


l,;i\.>  11  tc.tiilly  (lil'IViviit  ni.Miiiii},'.  TIi.'X*'  two  rriuliiiffs  also  illustratf  the 
ru.l  tliiit  a  )iiHiiiniii  may  or  may  not  Lc  an  imiM.rUiil  wortl  in  llu'  scntfiifi'. 

Wlu'n  alioul  tn  Kct  suili  words  to  nuisii-,  tlicy  slioiilil  Iw  ivad  over 
(aloml  is  l)ost),  ami  the  acccnti'il  and  iinacci-ntnl  syllaUU-s  caivlully  ob- 
s.TVfd;  also  tin'  parts  of  spoi-tdi,  tin;  imi.ortant  words,  and  last  ai'i!  nmst 
iiMiiorUmt,  tlu'  moaniuK'  of  the  si-ntenci;.      For  example:  — 

Til.'  I  Heavens  (It'cUlre  tlu"^  |  ilory  of  Clod  the  |  firmaiiu'^nt  shewetli  forth  hia  | 
hii.ultwnrk  I  day  nutu  day  I  tittertHh  spOech  1  night  nnto  night  |  bhOweth  forth 
kiiowl'dge. — 

The  wonh  marked  4-  are  the  important  words ;  the  syllables  are  marked 
accordint,'  to  their  aeeent. 

It  will  at  (.nee  he  seen  tliat  the  import  of  the  sentence  is 

iHt,  //(vnr/is  —  deelarinj,' ///(/r//. 

2d,  /V/VHrt//ic/i<  — showing /aaK/tin^?^'. 

;?d,  Ihiij  —  utterinj^  s^*«ri7i. 

4th,  Xi'iht  —  showing  knowlahjc. 

Therefore  the  above  division  by  bars  preserves  and  emi)]iasizes  the 
meaning,  as  music  always  does.     In  notes  this  would  appear  as  follows:  — 


«      I    «  •         *       *        * 

Tiie      Heavens  de  -  clarc     the 


J  .        ;   '  J^.    .^      J 


I         ^      N 
glo  -  ry      of    God       the   ,  lir  -  urn  -  nicnt 


N  N  ^  N 

4  0  0* 

shew  -  ct'      forth    his 


J 


0  '  0 

han     -     di    -  work 


J 
day 


to    day 


un 


S      0      0        a     \     0        0  '     0      f^ 
ut  -  ter  -  eth  speech  '   night    un   -  to    night 


^       ^       '         J         J 
000** 

shew- eth  forth  knowl-cdge 


It  is  often  necessary  to  repeat  words  or  parts  of  a  sentence  in  this  kind 
of  writing;  it  should  be  done  with  great  judgment  in  the  choice  of  the  n  ord 
or  ohrase  to  be  repeated.     If  a  single  word,  it  should  be  one  of  the  impor- 


hvy 


1  also  illustrati'  the 
1(1  ill  llu'  si'iitciicc. 
Kiuld  lie  read  over 
lal)U'S  caivl'ully  ol)- 
aiid  liust  ai'il  must 
c:  — 

lit  sliOwC^tli  forth  Ills  I 
nij^ht  I  bhOwt'th  forth 

yUablos  are  luaikL'd 
ce  ia 


and  einjiliasizes  the 
ippear  as  follows :  — 

Iht'     lir  -  ma  -  nient 


J'C/A 


ruiji  AVi.i/JA'A'.v  OS  MJ:u'i>y 


It' 


f.nt  words   _  a  vrrh  is  ahout  ih.  lust,  nrxt  a  pronoun,  if  arrriitr.l,  --  hut 

ri  r trd  : Id  n.v.r  h.  r,...  n.oi.  thaii  -i'^^J;;--!^':; 

ill.   s.ntfn.is    "Who   art    Thou?"    Nve    nia.v  srt    i,       NNh"       ^^  "•       ' 
Thou"    an.Uain  iu  c.n...t;   hut  if  we  net  it,  -  NN  ho  -  who  -  .ho  _  .ut 

j:tu^..^!.nh,.nt..ewiU.^ 

bass,  Wnor,  alto,  and  soi>ran..  all  announcM.  n.  tmn      >  ^       ;^'^  '  ; 

all  iogethcT,  "I  will  wash  ..ly  hands;"  tlu-n  a  i-ause,  heloie  tla^   itlusc 

tlu. 'inxiKv  of  the  listontTS  by  adding,  "minnoccncy. 

-r  V  id  such  inqititudcs,  study  good  nuulels  -  the  choral  works  of 

Zl  that  augniented  force  and  beauty  that  is  the  provu.ce  of  n.us.c. 


un   -   to    day 


N  I  I  I 

<        0  S  0 

li  forth  knowl-cd^e 


cntenoe  in  this  land 
ho  choice  of  the  \  ird 
be  one  of  the  inipor- 


I  f  ^ 


.1  ■■ 


® 


H 


INDEX 


AcciACATunA,  47,  48. 
Auapest,  100. 
Appof^Kiiitura,  4."^,  48. 
Augmented  nissoii.ince,  25. 
Angincnted  Fiftli,  80. 
Au!,'mentea  Fifth  Clionl,  152. 
Auf,'raentea  Fourth,  4,  2.-),  26,  36. 
Ausiiienti'''  Seccinil,  80. 
Augmented  Sixth  Chord,  145,  146. 
Authentic  ^iode,  2. 

B.vcn  Minor  Scale,  09. 
Ballad  Metre,  158. 
Balliids,  11. 
Bass,  51. 

Cadkxck,  55. 

Changing  Notes,  43,  44,  62,  63. 
Chord  Combinations,  49. 
Ck.se  Harmony,  51,52,  101. 
Common  Chord,  49,  100. 

Common  Metre,  158,  159. 

Consonances,  23. 

Contrary  Motion,  19,  20. 

Dactyl,  159. 

Diminished  Chord,  49. 

Diminished  Dissonance,  25. 

Diminished  Fifth,  4,  25,  26,  36. 

Diminished  F'onrth,  80. 

Diminished  Seventh  Ciiord,  131. 

Direct  Motion,  19. 

Dissonance,  23,  ."0,  35,  43,  45,  46. 

Dominant,  6. 

Dominant  Chord  12,49,124. 

Dominant  Harmonies,  P-ogression  of,  131. 

Dominant  Seventh  Chord,  09-74.  89,  !  >+,  HT. 

Dorian  Scale,  2. 


Kkharmosic  Change,  132. 

Fiiisr  I'rogression,  69. 
Four-part  Harmony,  100. 
French  Sixth,  140. 

Geuman  Sixth,  146. 
Grace  Note,  47. 
Gregorian  Scale,  2. 

Harmonic  Scale,  80. 
Hypodorian  Scale.  2. 
Hypolydian  Scale,  2. 
Hypophrygian  Scale,  2. 

lAMl\t:s.  157. 

Imperfect  Consonance,  23. 

lntcrval.3,4,5,  6,  10,  15,  19,  20. 

Inversion,  6. 
Ionian  Mode,  2. 
Italian  Sixth,  140. 


Keynote,  6. 


,20. 


Leadinc  Tone, ' 
Long  Metre,  157. 
Lvdian  Scale,  2. 
Lyric  Melody,  11,12.  157. 

Ma.ior  Chord,  49. 
Major  Scale,  2. 
Major  Sixth,  5. 
Mediant,  6. 

Melodic  Minor  Scale,  94. 
Melody,  10,  156. 
Metro,  157. 
Minor  Chord,  49. 
Minor  Scale,  2,  79. 
Minor  Sixth,  5. 


IJ 


1 66 


n\DEX 


Mudiilfitimi, 
Motive,  VI. 


:<,  157. 
Nam  KAi.  Si'alo,  7y. 


()Ki.ii,ii  i:  Motiou,  r,t,  -20. 

Octavo,  "),  1  '.I. 

Octave  I'ositicju,  100.  102,  103. 

Upfii  llainiuiiy.  .")!,  52,  101,  120. 

( irgaiL  ruiiil,  u8. 

UvtTtOlK'!',  124,  127. 

1'auai.i.i:i.  Minor  ClionLs,  150,  151. 

rarall<l  Mutiou,  1<). 

I'arallrl  Scales,  \M. 

J'a.-'.-iiiij,'  Tones,  30-41,  61-68. 

J'edal,  58. 

I'orfcia  Clioril.  l'.». 

I'erlVct  Close,  55. 

IVrl'eet  (\insoiiaiK'e3,  23. 

Perfect  Fifth,  4,  22, 

IVrioil,  11. 

I'lirase,  11. 

I'hrvirJaii  Sc.ilp,  2. 

I'lanal  Modes.  13. 

I'lainson^:  Scales.  2. 

rriinary  liliytliin,  10. 

QiiNT  I'.isitioii,  101,  102,  103. 

Hl'I.MT.li    Keys,  75. 
IJelated  Heali  s,  3. 


Helative  Minor,  79, 
Kesoliitiou,  43,  45. 
He.sohition  of  Dissonance,  23. 
Kliytliin,  10. 
Hoot,  49. 

SCALK,  1. 

Second,  3. 

Second  rroi,'ression  in  Dominant  Seveiitli,  IIG. 

Secondary  lihytlmi,  10. 

Section.  11. 

Semitone,  5. 

Sequence  of  Dominant  Seventh  Chord,  90,  1 1 7. 

Se(|nenees,  15,  20. 

Short  Metre,  15S,  159. 

SuhdoMiiiiant,  6. 

Sulidoniinant  Chord,  12,  49. 

Snbnieiliant,  7. 

Sncce.ssions  of  Common  Chords,  101. 

Sn[)ertoiiic,  0. 

Su])ertonic  Harmony,  143,  144. 

Suspension,  45,  M). 

Ti;Ti;Arii()nii«,  2,  3. 

Third    I'rogressii'U   of    Dominant   Seventh, 

Uf). 
Tierce  Position,  100,  102,  103. 
Tonic,  6. 

Tonic  Chord,  12,  49. 
Trochee,  159. 
Two-])art  Combinations,  15. 


iiiee,  23. 


1  Domiuaiit  Scvciitli,  116. 
0. 


t  Seventh  Chonl,  90,  117. 

I, 

12,  4'J. 

on  Cliords,  101. 
14,1,  144. 

)f    lloniinaut   Scvcutli, 
102,  103. 

us,  15. 


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